The Hunchback of Notre Dame The Concert Experience
by The Byzantine Knight
Summary: Come experience The Hunchback of Notre Dame In Concert! My 20th Anniversary tribute. All rights belong to Victor Hugo and Disney. Music and lyrics by Alan Menken and Stephen Schwartz.
1. Act I: THE BELLS OF NOTRE DAME

**In honor of the 20th anniversary of one my favorite films of all time** ** _The Hunchback of Notre Dame_** **, I give you this story, which is what I imagine what a concert experience of the film would be like; reminiscent of that other great Victor Hugo novel-turned-stage musical-turned-movie musical** ** _Les Misérables_** **.**

 **This story combines elements from all three of Disney's adaptations of** ** _Hunchback_** **.**

 **Yes, Disney has actually made** ** _three_** **adaptations, not just one, of** ** _Hunchback_** **.**

 **1\. The Animated Film in 1996, which I hope everyone has seen by now.**

 **2.** ** _Der Glöckner von Notre Dame,_** **the first stage musical which was produced in Berlin, Germany from 1999-2002.**

 **3\. And the American stage musical of the same name, which is even closer to the original novel than the other two adaptations. It premiered in the La Jolla Playhouse, San Diego, California in late 2014, but sadly, will not be making its way to Broadway anytime soon. Why? I don't know.**

 **All three versions were done by Alan Menken and Stephen Schwartz. Cast recording are available for the film and both stage versions, but they are pretty expensive online. Thankfully are some people kind enough to post those recordings, of the songs and the shows themselves, on YouTube.**

 **In my story, I will bring together all the best parts of all three versions, along with a few original ideas and content of my own, (which I hope does not interfere with the original story too much.) to create what I believe would be a definitive experience of** ** _Hunchback_** **as a concert. Just the songs, with some minimal narration to push the story forward.**

 **I will also try to bring in elements from the old stage shows that used to be in the Disney Parks, and elements from the various foreign dubs. Especially the French dub for obvious reasons.**

 **Song lyrics are in** ** _italics_** **while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **Sit back, relax, and listen to the music of Bells...** ** _THE BELLS OF NOTRE DAME_** **.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

Here you are.

After you have paid a hefty admission for your ticket, you are finally in the arena, a place normally reserved for sporting events, to see Disney's _THE HUNCHBACK OF NOTRE DAME In Concert_. You are among many, many, many, fellow fans who are also here to witness this incredible event unfold on stage and in song. Many of them have already taken their seats and have bought much of the various pieces of new merchandise you saw on the way inside (T-Shirts, plushies, posters, programs, Original Cast CDs, etc.) If I were you I would buy up everything you saw back there, because Disney doesn't make a whole lot of _Hunchback_ merchandise anymore. Buy it while you can!

You take your seat and take in the atmosphere around you. Besides the multitude of fans surrounding you, you also take notice of the empty stage in front of you.

On stage is a 50 foot model of the facade of Notre Dame Cathedral, which is the centerpiece of the story and the production itself. The Facade is of simple design; the only really detailed part is the center Rose Window. It is meant to be reminiscent of Quasimodo's small wooden village in the Bell Tower. On either side of the Cathedral are ascending pews meant for the 100 member choir that will occupy the stage. The pews will occupy 50 choir members on each side. There is also a large projection screen surrounding the stage behind the Cathedral, which will help enhance the environment of the production. The orchestra is down below in the orchestra pit, preparing to begin the incredible score by Alan Menken and Stephen Schwartz.

After a few more minutes of waiting, which feels more like an eternity...

It begins.

* * *

 **ACT I** ** _THE BELLS OF NOTRE DAME_**

* * *

The entire arena goes dark. For a moment, there is total darkness and silence.

The silence is broken by the pleas of ringing Church Bells.

Silence again.

The Choir begins singing a sacred hymn.

 **CHOIR**

 _OLIM_

 _OLIM DEUS ACCELERE_

 _HOC SAECULUM SPLENDIUM_

 _ACCELERE FIAT VENIRE OLIM_

(In the dark, the choir begins coming down the aisles in the arena, and are filing up on stage and filling the pews on both sides. 50 members on each side, a full 100 member choir. They repeat the hymn again.)

 **CHOIR**

 _OLIM_

 _OLIM DEUS ACCELERE_

 _HOC SAECULUM SPLENDIUM_

 _ACCELERE FIAT VENIRE OLIM_

(The Bells toll and ring one more time.)

(The Powerful Choir and Orchestra begin the opening vocals of _THE BELLS OF NOTRE DAME_ and the lights are gradually illuminating the stage. The large projection screen surrounding the stage behind the Cathedral, imitates morning light.)

(The Choir is revealed to be hooded monks in light gray habits; hoods covering their heads as they peer down on their choir books.)

(Two of the hooded monks step forward out of the Cathedral doors on stage.)

(The Monk on the right removes his hood, and underneath the hood is an elderly man, with a wise and kind face. He has neck-length white hair coming down from the red skullcap on his head, and is clean shaven. It is the Archdeacon of Notre Dame.)

 **ARCHDEACON**

 _Morning in Paris, the city awakes to THE BELLS OF NOTRE DAME_

(The Archdeacon makes the Sign of The Cross on himself and Blesses the audience in the same way _.)_

(The Monk on the left removes his hood and underneath the hood is a much younger man with a handsome and mischievous face. He has neck-length black hair coming down from his head, along with a pointed black beard, and a large gold earring on his right ear. It is Clopin, the King of the Gypsies.)

 **CLOPIN**

 _The fisherman fishes, the bakerman bakes to THE BELLS OF NOTRE DAME_

 **ARCHDEACON**

 _To the big bells as loud as the thunder..._

 **CLOPIN**

 _To the little bells soft as a psalm..._

 **ARCHDEACON**

 _And some say the soul of the city is the toll of THE BELLS..._

 **ARCHDEACON and CLOPIN**

 _THE BELLS OF NOTRE DAME_

 **ARCHDEACON**

On the Morning of January 6th, 1482, the good citizens of Paris gathered at the Cathedral of Notre Dame for the Feast of the Epiphany of Our Lord...

 **CLOPIN**

...and for the Festival of Fools...

 **ARCHDEACON**

As they were awakened to _THE BELLS OF NOTRE DAME_ to begin this glorious day which The Lord has made.

(The Archdeacon makes the Sign of The Cross on himself and Blesses the audience the same way)

 **CLOPIN**

Listen, they are beautiful, no? The bells! So many colors of sound, so many changing moods. But, do you think that they ring all by themselves? No! There is a bellringer. Up there, high, high in the dark bell tower, lives the mysterious bell ringer.

 **ARCHDEACON**

To hear these bells is to be reminded of an extraordinary time, when this lowly bellringer brought the city of Paris to its knees. And who better to tell you this story than those who know it best of all.

(The Archdeacon gestures to both Clopin and himself)

 **CLOPIN**

But, we must warn you in advance, You are about to see an ugly monster; for this is a tale of a man and a monster.

 **ARCHDEACON**

Just who that might be is for you to decide.

(The Archdeacon and Clopin step off to their respective sides as the light dim a little, and two new characters join the scene. The two brothers named Frollo arrive on stage. The one on the left is Claude Frollo, he is dressed in a tight back tunic and has dark hair, with an intimidating presence. The one on the right is Jehan Frollo, he is dressed in lighter and more colorful clothes, and has long brown hair with a more mischievous presence.)

 **ARCHDEACON and CLOPIN**

 _Many long years ago did this story begin in this Place of NOTRE DAME_

 _Two orphan brothers were both taken in by the Grace of NOTRE DAME_

 **ARCHDEACON**

 _Claude Frollo, the older who cared for his brother_

 **CLOPIN**

 _Young Jehan Frollo, full of beauty and charm_

 **ARCHDEACON and CLOPIN**

 _And they lived, and they grew, and awoke to the music of BELLS,_

 _THE BELLS OF NOTRE DAME_

 **CHOIR**

 _KYRIE ELEISON_

 **CLAUDE FROLLO**

 _Oh dear brother, beneath these arches and this sacred dome..._

 **CHOIR**

 _KYRIE ELEISON_

 **CLAUDE FROLLO**

 _We are blessed to find our sanctuary and our home._

(The two brothers embrace.)

 **JEHAN**

Come with me dear brother! I'm heading into town for a little fun.

 **CLAUDE FROLLO**

No, Jehan, No. You must stay home and write out your catechism.

 **JEHAN**

No, you must come with me to the bar!

 **CLAUDE FROLLO**

Jehan! I am not going to lie for you again if you stay up late.

 **JEHAN**

Yes you will! Brother dear! You are so good to me.

(Jehan runs off and Claude Frollo follows suit to catch him)

 **ARCHDEACON**

 _Righteous Claude Frollo was ever more drawn like a son to NOTRE DAME_

 **CLOPIN**

 _Not like his profligate brother Jehan who'd have none of NOTRE DAME_

 **ARCHDEACON**

 _Though as brothers they loved one another Frollo watched in despair and alarm_

 **CLOPIN**

 _As Jehan who grew more wild, and defied, and defiled all the laws..._

 **ARCHDEACON and CLOPIN**

 _The Laws of NOTRE DAME_

(The two brothers return to the scene. Frollo is now dressed in a monk's habit and his hair is much grayer. Jehan has not changed at all, except for the bottle of wine he is holding in his hand. He also slurs and staggers around, drunk.)

 **CLAUDE FROLLO**

Jehan, where have you been? Why weren't you in evening Mass?

 **JEHAN**

It's your birthday today! We must celebrate!

(A gypsy girl enters the scene)

I brought you a gift. She's a friend of mine.

 **CLAUDE FROLLO**

(Shocked)

A gypsy girl in our room?

 **JEHAN**

Florika – she is a beauty, isn't she? This is my brother, Claude.

(Florika struts around Claude Frollo seductively, and attempts to feel him up. Claude Frollo is clearly shocked by all of this.)

 **FLORIKA**

Happy Birthday…Claude. Don't be shy. I can see you want to. I can see it in your eyes. Ha-ha! I can feel it, too!

(Claude Frollo rejects her advances and shoves her away)

 **CLAUDE FROLLO**

Stop!

 **FR. DUPIN**

Claude?

 **JEHAN**

It's Fr. Dupin! Help me hide her!

(Florika hides and then Fr. Dupin enters the scene, a rather large monk in a brown habit and a clean shaven head)

 **FR. DUPIN**

What is going on in here?

 **JEHAN**

Nothing, Father!

 **FR. DUPIN**

Is it nothing, Claude?

 **CLAUDE FROLLO**

Tell him, Jehan. If you won't, I will!

(Claude Frollo reveals Florkia, and Fr, Dupin is scandalized)

 **CHOIR**

 _KYRIE ELEISON_

 **FR. DUPIN**

 _You both must leave, this Holy refuge where you've dwelled._

 **CLAUDE FROLLO**

Leave? But Father—

 **FR. DUPIN**

Sorry Claude, but I have no choice, you both are expelled!

(Claude Frollo is shocked that he has been defrocked; framed for his brother's sin)

 **CLAUDE FROLLO**

Jehan…

 **JEHAN**

What did you think? That they wouldn't send us away? Who do you think these people are?

 **CLAUDE FROLLO**

Jehan, how could you betray me? These people have given us a home, and comfort, and safety!

 **JEHAN**

Comfort?! You call this comfort? You call this safety? Well, you can have it! You're welcome to it!

(Jehan and Florkia flee the scene, as does Claude Frollo hanging his head is sorrow and shame.)

 **ARCHDEACON**

Jehan and the girl left, and Frollo never heard from his brother again.

 **ARCHDEACON and CLOPIN**

 _Frollo had been completely disgraced from the ranks of NOTRE DAME_

 _He had been stripped of his Priesthood and had been forced to leave the Church of NOTRE DAME_

 **CLOPIN**

 _He blamed the sinful gypsy girl for his fall,_

 _So he entered the courts of law in order to purge Paris of them all._

 **ARCHDEACON**

 _Judge Claude Frollo believed himself to be a man with morals so pristine_

 **CHOIR**

 _KYRIE ELEISON_

 **ARCHDEACON**

 _That he swore he would make all of Paris just as clean._

(The Archdeacon steps forward to the audience)

 **ARCHDEACON**

In his anger and obsession, Frollo had forgotten our Lord's Commandment; that we are to love our enemy, forgive and do good to those who have wronged us.

We must hate sins, and love sinners. We must see ourselves as the worst sinner of all, lest we fall to pride.

Let us repent of our sins, for this is what must be done for our salvation.

(The Archdeacon makes the Sign of The Cross on himself and Blesses the audience the same way, and leaves stage right. The lights go dark, the large projection screen turns to night. Clopin steps forward to continue the scene…)

 **CLOPIN**

 _Dark was the night when our tale was begun_

 _On the docks near NOTRE DAME_

(A Gypsy mother enters the scene, carrying a crying baby)

 **GYPSY MOTHER**

Hush, little one.

 **CLOPIN**

 _A poor frightened Gypsy slid silently under the docks near NOTRE DAME_

(The baby keeps crying)

 **GYPSY MOTHER**

Please, please be quiet.

 **CLOPIN**

 _But a trap had been laid for the Gypsy_

 _And she gazed up in fear and alarm_

 _At a figure whose clutches were iron as much as THE BELLS_

 _THE BELLS OF NOTRE DAME_

 **CHOIR**

 _KYRIE ELEISON_

(Enter Judge Claude Frollo, now dressed in a black robe of high rank and judgment with a cap to match. His hair is now white and is a presence feared by all. He is accompanied by two soldiers)

 **CLOPIN**

 _Judge Claude Frollo longed to purge the world of vice and sin_

 **CHOIR**

 _KYRIE ELEISON_

 **CLOPIN**

 _And he saw corruption everywhere_

 _Except within_

 **FROLLO**

You there! What are you hiding?

 **GYPSY MOTHER**

Please Sir, I only come into the city seeking help for my baby!

 **FROLLO**

A Baby? Likely story. What have you stolen? See what that gypsy has in her hands.

(The soldiers step forward to arrest the Gypsy Mother)

 **CLOPIN**

And the poor woman ran for her life!

(The gypsy woman escapes the soldiers, and runs around frantically before approaching the doors of Notre Dame)

 **CHOIR**

 _DIES IRAE, DIES IRAE_

 _DIES ILLA, DIES ILLA_

 _SOLVET SAECLUM IN FAVILLA_

 _TESTE DAVID CUM SIBYLLA_

 _QUANTUS TREMOR EST FUTURUS_

 _QUANDO JUDEX EST VENTURUS_

 **GYPSY MOTHER**

Sanctuary! Please give us sanctuary!

(Frollo stops her, strikes her down dead, and snatches the bundle from her. She lays down on the floor dead. He is horrified by the bundle's contents)

 **FROLLO**

This is not a child! It is a demon! I shall send it back where it belongs.

 **CHOIR**

 _SOLVET SAECLUM IN FAVILLA_

 _DIES IRAE_

 _DIES ILLA_

(Frollo prepares to throw the baby "down a well", actually off the stage)

 **ARCHDEACON**

Stop!

 **CLOPIN**

Cried the Archdeacon.

(The Archdeacon has returned and has shed the monk's habit. He is now dressed in a white habit, a red stole, and a golden pectoral cross. He rushes over to the body of the Gypsy Mother. He makes the Sign of The Cross on himself and on her)

 **ARCHDEACON**

What have you done? What have you in your hands?

 **FROLLO**

An unholy demon that this woman has borne.

 **ARCHDEACON**

Lord help us! She's dead!

 **FROLLO**

Dead?

 **ARCHDEACON**

 _See there the innocent blood you have split_

 _On the steps of NOTRE DAME_

 **FROLLO**

I was merely enforcing the law. She ran, I pursed. I never meant to hurt her.

 **ARCHDEACON**

 _Now you would add this child's blood to your guilt_

 _On the steps of NOTRE DAME?_

 **FROLLO**

I am guiltless. My conscience is clear.

 **ARCHDEACON**

 _You can lie to yourself and your minions_

 _You can claim that you haven't a qualm_

 _But you never can run from_

 _Nor hide what you've done from the Eyes_

 _The very Eyes of NOTRE DAME!_

(Our Lord Christ, The Virgin Mary, The Angels, and The Saints, appear on the large projection screen surrounding the stage behind the Cathedral. Frollo looks up in awe and trembling, while the Archdeacon looks up in awe and reverence, and makes the Sign of The Cross on himself again)

 **CHOIR**

 _KYRIE ELEISON_

 **ARCHDEACON**

 _And for one time in his life of power and control..._

 **CHOIR**

 _KYRIE ELEISON_

 **ARCHDEACON**

 _Frollo felt a twinge of fear_

 _For his immortal soul_

 **FROLLO**

What must I do, Father?

 **ARCHDEACON**

Care for the child, and raise it as your own.

 **FROLLO**

I can't! This misshapen monster can have no life here!

(The Archdeacon gives Frollo a look of great warning. Frollo realizes he has lost this argument; he looks up again at Our Lord Christ, The Virgin Mary, The Angels, and The Saints, in awe and trembling...)

 **ARCHDEACON**

 _And the Saints looked down on Frollo_

 _From their stone facade..._

 **CHOIR**

 _KYRIE ELEISON_

 **ARCHDEACON**

 _And he knew what he must do as Penance_

 _In the eyes of God_

 **FROLLO**

You're right, Father. God has given me this challenge. I will take this... thing and look after it. But I ask a favor of you in return.

 **ARCHDEACON**

What is it?

 **FROLLO**

Let us agree never to speak of what has happened here today. In return, I will raise this child as my own.

 **ARCHDEACON**

Very well.

 **FROLLO**

I have no home to speak of. Let him live here, in the Church.

 **ARCHDEACON**

Live here? Where?

 **FROLLO**

Anywhere

 _Just so he's kept locked away where no one else can see_

The bell tower, perhaps. And who knows? Our Lord works in mysterious ways.

 _Even this foul creature may yet prove one day to be_

 _Of use to me_

 **CLOPIN**

And so Frollo gave the child a cruel and thoughtless name;

A name that means "half-formed".

 **FROLLO**

Quasimodo

(Frollo leaves the scene. Two other hooded monks come in and take the body of the Gypsy Mother away offstage. The large projection screen becomes daylight again. The Archdeacon steps forward to continue the scene with Clopin)

 **ARCHDEACON and CLOPIN**

 _Now here is a riddle to guess if you can_

 _Sing THE BELLS OF NOTRE DAME_

(The Cathedral doors open again and Frollo returns with another man, hunchbacked, one-eyed, and lame; Quasimodo. Quasimodo enters the scene, a man with the soul of an angel but trapped in the body of a demon. He is hunched over, walks with a limp, has large red hair, dressed in green rags, and has a very ugly face.)

 **FROLLO and QUASIMODO**

 _Who is the monster and who is the man?_

(A bell rope comes down from the ceiling and Frollo directs Quasimodo to ring it. He does so with great strength)

 **ARCHDEACON and CLOPIN**

 _Sing The Bells_

 _Bells_

 _Bells_

 _Bells_

 _Bells_

 _Bells_

 _Bells_

 _Bells_

 _ **BELLS**_

 _ **OF**_

 _ **NOTRE**_

 _ **DAME!**_

(Five Large Bells come down ringing and swinging from the ceiling, as the choir and orchestra finishes the opening song with a powerful flourish.)

(The audience applauds with great enthusiasm.)

* * *

 **CHOIR TRANSLATION**

 ** _Olim, Olim, Deus Accelere_ (Someday, someday, God speed)**

 ** _Hoc saeculum splendium_ (This bright millenium)**

 ** _Accelere fiat venire olim_ (Let it come someday)**

 ** _Kryie Elesion_ (Lord Have Mercy)**

 ** _Dies Irae, Dies Illa_ (Day of wrath, that day)**

 ** _Solvet saeclum in favilla_ (Shall consume the world in ashes)**

 ** _Teste David cum sibylla_ (As prophesied by David and the sibyl)**

 ** _Quantus tremor est futurus_ (What trembling is to be)**

 ** _Quando Judex est venturus_ (When the Judge is come)**

 **So that was my interpretation of** ** _THE BELLS OF NOTRE DAME_** **the opening number of** ** _THE HUNCHBACK OF NOTRE DAME_** **(In Concert)**

 **So as I said before; my story brings together all the best parts of all three versions, along with a few original ideas and content of my own, (which I hope does not interfere with the original story too much.) to create what I believe would be a definitive experience of** ** _Hunchback_** **as a concert.**

 **Here is what I did:**

 **I made the Archdeacon and Clopin the twin narrators of the story. The Archdeacon narrates everything that happens** ** _inside_** **Notre Dame, while Clopin narrates everything that happens** ** _outside_** **Notre Dame. I did this because I wanted give The Archdeacon the bigger role I feel he deserves.**

 **One of the reasons why I love** ** _Hunchback_** **so much are the clear, direct, respectful, and reverent, references to Christianity and all related aspects (God, The Church, The Saints, hymns, virtues, miracles, etc.) A very rare occurrence in a Disney film where most of the time it is done much more vaguely, rather than directly. Don't get me wrong, all the other Disney films treat Christian virtue very respectfully (as Walt would have wanted it), its just that I love how Hunchback addresses Christianity directly without compromise. The film had direct Christian references, both musicals had even more Christian references, and I added even more Christian references! I feel they are appropriate to the story.**

 **The American Musical adapted more from the original novel than does the film or the German musical does. It included elements like Frollo's slacker brother Jehan and Frollo being the Archdeacon. What I also loved about the American musical is how they explained why Frollo hates gypsies so much. Everyone knows Frollo hates gypsies and would gladly like see them gone, but only the American Musical bothered to ask the question: Why?**

 **Answer: Because it was a gypsy girl that caused his brother to be expelled from the seminary. This event also stirred up lust inside Frollo that was forgotten, until Esmeralda appeared and this is what led to his downfall. It doesn't also help that Frollo became extremely prideful and saw everyone else to be greater sinners than himself.**

 **This one of many reasons why Frollo on of my favorite characters of all time (much less from just Disney) because he a prideful man who does not believe anything he is doing is evil. He only believes he is doing good, even though he is not. It also helps that he is the representative of the law, rather being a ordinary criminal. He can get away with almost anything, because he** ** _IS_** **the law.**

 **I decided to make his backstory even more tragic and painful by making him be expelled along with Jehan from Notre Dame. In the American Musical, Frollo is spared from Jehan's punishment. I did this because I want his hate for gypsies to be even stronger, more bitter, and more personal; they seduced his brother, stirred up lust in his soul, and disgraced him from the ranks of the Clergy, and so they must all be punished for their sins. That hurts.**

 **I also did this because I want Frollo, as a villain, to be a politician rather than a priest. Prior to the American Musical, I could not figure out how any of Frollo's actions would play out if he were the archdeacon instead of the Minister of Justice. After seeing that said Musical, I now see** **how that would have played out and...man, that was sick. I don't blame Disney at all, they were only adapting the source material, I just felt it was too much.**

 **That being said, I support and only accept, Frollo and the Archdeacon being separate characters. Having the two being separate characters makes Frollo as a villain much easier to handle and the Archdeacon remains a hero, being a pure Christian Priest. I strongly believe that the world, both in the entertainment world and the real world, needs more Christ-imitating Clergymen like the Archdeacon in Disney's** ** _Hunchback_** **.**

 **Another interesting detail from the American musical is about Quasimodo's origins. He is not just any random Gyspy's woman's child; he is actually Jehan's and Florika's child. Yes, Quasimodo is not just Frollo's "step son", he is actually Frollo's** ** _nephew_** **. You creeped out by this? I know was when I found out about that! Is that the same case here? I'll let you decide that.**

 **In case I did not do a good job enough of describing the character's appearances; The Archdeacon, Clopin, Judge Claude Frollo, and Quasimodo, are all the same designs as the animated film.**


	2. Act I: SANCTUARY

**The next song in** ** _Hunchback_** **is an interesting combination of the film and the German Musical; _SANCTUARY_.  
**

 **The first half of this song is from the film when Frollo warns Quasimodo about the dangers of the world out there and the rest is from** ** _Der Glöckner_** **where the song becomes a new number where Frollo tells him not to ever venture out there while the Gargoyles are telling him to do otherwise.**

 **It's a good song that never quite made it's way into English adaptations, but thanks to good English translations of** ** _Der Glöckner_** **,** **and the story you are reading right now, you can enjoy this song like never before. It would be better if I had the ability to make a video of it instead, so you're going to have to use your imagination a bit on this one. You can also find this song on YouTube if you look patiently enough.**

 **Now regarding the presence of the gargoyles...**

 **In the original novel, Quasimodo often talked to the gargoyles, the bells, and statues of the Saints as his friends in the bell tower. Disney took it a step further in the film and the German musical and had the gargoyles be real characters in the story and interact Quasimodo. As long as you heed the filmmaker's words when they say that the gargoyles are symbols of Quasimodo's conscience and talk only to him, it makes it much easier to accept them.**

 **The American musical did something similar except they had the bells, gargoyles, and Saints speak only to Quasimodo in a nameless chorus.**

 **I have done a similar concept here with only Saints and Gargoyles, but not the bells.**

 **The Gargoyles are named Victor, Marie, and Hugo.**

 **The Saints are St. Leonidas, St. Charles, and St. Anthony.**

 **Why have I named them like this? Read and see why at the end of this chapter.**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT I** _ **SANCTUARY**_

* * *

The Five Large Bells that came down ringing and swinging from the ceiling, in the last number remain as the projection screen has turned into a dark room with small beams of light pouring through the rafters.

The bells and the projector screen has made the stage become the Bell Tower of Notre Dame.

Clopin has left stage left, and only the Archdeacon remains as the narrator.

Frollo and Quasimodo have remained as well since they share the next song. Six new characters have entered the scene; St. Leonidas, St. Charles, and St. Anthony, along with the gargoyles Victor, Marie, and Hugo. These six characters represent Quasimodo conscience, and only he can hear them.

Frollo and Quasimodo are in the foreground while the Saints and Gargoyles are in the background.

The Archdeacon steps forward to begin his narration...

 **ARCHDEACON**

For Quasimodo, Notre Dame was not only his home, but his universe. It was people made of marble who were his friends; Angels, Saints, Kings, and the gargoyles. Saints such as St. Leonidas the Bishop, St. Charles the Emperor, and St. Anthony the Monk blessed him and the gargoyles like Victor, Marie, and Hugo protected him. They were his friends and guardians in his small isolated world; His _SANCTUARY_.

By the time Quasimodo became a young man, he became fascinated by the world outside of the Bell Tower, and wanted to become part of the world _OUT THERE._

But Frollo forbade it...

(The Orchestra begins a somber tune.)

 **FROLLO**

 _The world is cruel_

 _The world is wicked_

 _It's I alone whom you can trust in this whole city_

 _I am your only friend_

 _I who keep you, teach you, feed you, dress you_

 _I who look upon you without fear_

 _How can I protect you boy, unless you always stay in here?_

 _Away in here..._

Remember what I've taught you, Quasimodo.

 _You are deformed_

 **QUASIMODO**

 _I am deformed_

 **FROLLO**

 _And you are ugly_

 **QUASIMODO**

 _And I am ugly_

 **FROLLO**

 _And these are crimes for which the world shows little pity_

 _You do not comprehend_

 **QUASIMODO**

 _You are my one defender..._

 **FROLLO**

 _OUT THERE they'll revile you as a monster_

 **QUASIMODO**

 _I am a monster..._

 **FROLLO**

 _OUT THERE they will hate and scorn and jeer_

 **QUASIMODO**

 _Only a monster..._

 **FROLLO**

 _Why invite their curses and their consternation?_

 _Stay in here!_

 _Here you will be happier by far_

 _You don't know how fortunate you are..._

 _Once I was as blessed as you,_

 _A novice Priest in service to_

 _this Holy Church which was,_

 _My SANCTUARY_

 _Oh, then my duty called_

 _Paris was burning_

 _Sin, vice, corruption everywhere_

 _For me to rout OUT THERE..._

 **QUASIMODO**

You are good to me master. I'm Sorry.

 **FROLLO**

You are forgiven, but remember Quasimodo, _this_ is your SANCTUARY. I see the great unwashed are beginning to congregate. It appears that I will have to dip my handkerchief in perfume and hold it to my nose to get me through this day. Well then, I must be off.

 _Out where it's dark_

 **SAINTS**

 _Out where it's bright_

 **FROLLO**

 _Out where it's dirty_

 **GARGOYLES**

 _Out where it's busy_

 **FROLLO**

 _Out in that morally debauched and putrefied world_

 **SAINTS and GARGOYLES**

 _There's such a wide world to share_

 **FROLLO**

 _I am so thankful for our SANCTUARY_

 **SAINT LEONIDAS**

 _If you go out, it can remain our secret_

 **FROLLO**

 _Our secret SANCTUARY_

 **VICTOR**

 _Oh, if this once you go_

 **FROLLO**

 _I've kept you pure_

 **SAINT CHARLES**

 _Out in the air_

 **FROLLO**

 _Year after year_

 **MARIE**

 _It may be right..._

 **SAINT ANTHONY**

 _It may be wrong..._

 **HUGO**

 _But you will know..._

 **FROLLO**

 _Knowing that you're..._

 **SAINTS and GARGOYLES**

 _How you would fare..._

 **FROLLO**

 _Always_

 _In here..._

 **SAINTS and GARGOYLES**

 _OUT THERE_...

(Frollo leaves the scene, while Quasimodo, the Saints, and the Gargoyles remain)

(The audience holds their applause because the next song begins immediately following this one...)

* * *

 **So in case you haven't figured it out yet…**

 **The gargoyles like in the film itself are named Victor and Hugo after the novel's author Victor Hugo. I changed the name other gargoyle who is called "Laverne" in the film to "Marie" because that was actually Victor Hugo's middle name. I have no idea why they didn't call that gargoyle "Marie". "Laverne" is a name that has no connection to** ** _Hunchback_** **whatsoever. If they called that gargoyle "Marie" then they would have completed the joke by having the gargoyle trio be named after the author himself, Victor Marie Hugo but for some reason they didn't. Oh, well.**

 **The Saints are named after some of the most famous actors who have played Quasimodo prior to Tom Hulce;**

 **Lon Chaney (1923)**

 **Charles Laughton (1939)**

 **Anthony Quinn (1956)**

 **Anthony Hopkins (1982)**

 **Apparently the gargoyles were originally supposed to be called "Loni", "Charles" and "Antoine" in the film before they decided to call them "Victor", "Hugo", and "Laverne." Why they decided to change that before finishing the film is anyone's guess. The German musical renamed the gargoyles back to "Loni", "Charles", and "Antoine". The American musical had the gargoyles, Saints, and bells, be nameless characters acting as Quasimodo's conscience. I took these ideas and made the Saints as characters in the story too.**

 **"Lon" is actually a sub-form of Mr. Chaney's full name "Leonidas", so that's why I let the first Saint be called "Leonidas".**

 **As far as their designs go, the Gargoyle trio is the same as the film, while St. Leonidas is a Bishop, St. Charles is an Emperor, and St. Anthony is a Monk. All six characters are various shades of gray since they are made of stone.**

 **An interesting fact about Charles Laughton's** ** _Hunchback_** **film (1939); Censors at that time (like I am today) did not like the idea of Frollo being the evil priest, so that film made** ** _Claude_** **Frollo be the Good Archdeacon and** ** _Jehan_** **Frollo be the evil Minister of Justice. This is one of many aspects of the 1939 film Disney's borrowed to make the animated film we all know and love today (between that and everyone except the villain living at the end)**

 **Disney's** ** _The Hunchback of Notre Dame_** **(1996) is actually a combination of both the Novel and the 1939 film. True Story.  
**


	3. Act I: OUT THERE

**Now it is time for Quasimodo's big character defining song,** ** _OUT THERE_** **. One of Alan Menken's and Disney's best songs ever.**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT I** ** _OUT THERE_**

* * *

The Archdeacon steps in again to narrate the opening for the next song _OUT THERE_.

 **ARCHDEACON**

Despite Frollo's warnings, Quasimodo still hoped, dreamed, and prayed to be part of the world _OUT THERE_...

(The Orchestra begins a new tune. This time much more lively and brighter.)

(Quasimodo steps forward and takes center stage. He looks very dejected as he begins, but he gradually becomes much more optimistic and spirited as the song progresses)

 **QUASIMODO**

 _Safe behind these windows and these parapets of stone_

 _Gazing at the people down below me_

 _All my life I watch them as I hide up here alone_

 _Hungry for the histories they show me_

 _All my life, I've memorize their faces_

 _Knowing them as they will never know me_

 _All my life, I wonder how it feels to pass a day_

 _Not above them_

 _But part of them_

 _And OUT THERE_

 _Living in the sun_

 _Give me one day OUT THERE_

 _All I ask is one_

 _To hold forever_

 _OUT THERE_

 _Where they all live unaware_

 _What I'd give_

 _What I'd dare_

 _Just to live one day OUT THERE_

 _OUT THERE among the millers and the weavers and their wives_

 _Through the roofs and gables I can see them_

 _Every day they shout and scold and go about their lives_

 _Heedless of the gift it is to be them_

 _If I was in their skin_

 _I'd treasure every instant_

 _OUT THERE_

 _Strolling by the Seine_

 _Taste the morning_

 _OUT THERE_

 _Like ordinary men_

 _Who freely walk about there_

 _Just one day and then I swear, I'll be content_

 _With my share_

 _Won't resent, won't despair_

 _Old and bent, I won't care_

 _I'll have spent one day_

 _OUT THERE_

(The Orchestra ends in a glorious and spirited flourish, and the audience applauds with great enthusiasm)

* * *

 **What more needs be said? This is such a fantastic, uplifting, rousing, lively, and spirited song; One of Alan Menken's and Disney's best.**

 **I have listened to this song in a few other languages and it is just rousing, lively, and spirited as it is in English.**


	4. Act I: REST AND RECREATION

**Now we come to one of my favorite songs from the stage versions of** ** _Hunchback_ ,** **that I** ** _so_** **wish was in the film.**

 **What is so special about this song? Two words: _Phoebus Sings_!**

 **Have you ever notice how Phoebus is the only of the main characters in** ** _Hunchback_** **who doesn't get to sing? No really, he is.**

 **He actually was going to get to sing few songs, but they were cut out of the final film, and thus has become one of the few main characters in a Disney film that doesn't get a song.**

 **Thankfully the stage adaptations fix this, and now Phoebus has not one, but several songs in** ** _Hunchback_** **!**

 **The first song is called** ** _REST AND RECREATION_** **which is based on the medley you actually hear in the film when Phoebus is introduced.**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT I** ** _REST AND RECREATION_**

* * *

Quasimodo runs stage right and disappears from sight.

The Bell Tower set transforms into daylight and becomes the streets of Paris. Clopin, still dressed in a monk's habit, steps forward to continue the narration...

 **CLOPIN**

Before the Festival of Fools began in the square of Notre Dame, came the return of Captain Phoebus.

(In comes Captain Phoebus, a handsome middle-age man that has long blonde hair, a blonde goatee beard, and a dashing smile that is hiding a traumatized heart beneath it. He is dressed in golden armor, a blue cape, and his sword by his side. Several of his fellow soldiers follow behind him)

Captain Phoebus was the kind of man all men wanted to be, and women wanted to be with. Handsome, dashing, brave, and noble. He had returned to Paris looking for a little _REST AND RECREATION_ to escape from the horrors of war, but his dashing swagger, and soldierly disposition could not quite conceal the haunted look in his eyes.

(Clopin leaves stage left while Phoebus comes forward, and several Parisian girls appear. Phoebus gains the attention of one of them)

 **PHOEBUS**

You there! I shall take some bread please!

(Phoebus pays the girl and takes some bread. Phoebus eats the bread very heartily)

 **COLETTE**

You look like you haven't had a taste of good bread in months.

 **PHOEBUS**

Years actually. I have returned from the wars. I would like to have some of the local ladies show me around. You leave town for a couple of decades, and they change everything. I would love to have a lady as lovely as you show me around.

(Colette blushes and swoons, as do all the women around him)

 **PHOEBUS**

Join me! I have only three days to see the city before I report for duty. So what do you say?

(The song begins and the orchestra begins with a military drum cadence)

 **PHOEBUS**

 _Four years at the front_

 _Gives a man a zest_

 _For a little REST AND RECREATION_

 _For the chance to hunt_

 _For the spiciest_

 _In the way of REST AND RECREATION_

 _Give me your girls of pleasure_

 _Your grapes of merlot_

 _Show me your wares and measure_

 _One large sample_

 _Sample 'em at my leisure_

 _This three-day furlough_

 _Should be ample_

 _I have borne the brunt_

 _Of a soldier's test_

 _Now I've made my way_

 _Where I get to play_

 _At REST AND RECREA..._

(Phoebus now looks traumatized and withdrawn)

 _Four years at the front..._

 _Four years at the front..._

 _(The soldiers join in the song as a chorus)_

 **SOLDIERS**

 _Cannon fodder lying in the field below the castle_

 _Is this the third week_

 _Or the fourth week of the siege?_

 _The air filled with the stench_

 _Of bodies in a trench_

 _Whoever pays the most I call "my liege"_

 _Summoned here to Paris now, I'm far away from battle_

 _From clotting blood and rotting wounds of dead and dying men_

 **PHOEBUS and SOLDIERS**

 _And whatever I do_

 _I'll make sure this is true_

(Phoebus returns, along with his confidence and swagger)

 **PHOEBUS**

 _I will never go back again!_

 **PARISIAN GIRL**

Come on, Colette.

 **COLETTE**

Wa-wa-wait! Why is your armor golden?

 **PHOEBUS**

It means I'm a Captain.

 **COLETTE**

Captain?!

 **PHOEBUS**

 _Darling, to be blunt_

 _You are with the best_

 _That's why I've been blessed_

 _With this promotion_

 _I've been working hard_

 _Now I'm gonna be_

 _Captain of the Guard_

 _Ain't that a notion?_

 _Like other true knights_

 _I've got ambition_

 _But for a few nights_

 _Fun is my mission_

 _So what do you say?_

 _Care to share a day_

 _Of REST AND RECREATION!_

(Judge Claude Frollo enters the scene. The women scramble and leave, while Phoebus and the soldiers stand at attention)

 **FROLLO**

Captain! Welcome to the Parisian Guard!

 **PHOEBUS**

I'm grateful for the opportunity to serve you, your Honor.

 **FROLLO**

Your early arrival is most auspicious. The pestilence of these gypsies grows more dangerous every day.

 **PHOEBUS**

Gypsies? I was summoned from the wars to capture fortune-tellers and palm readers?

 **FROLLO**

Ah, the real war, Captain, is what you see before you.

 _Captain you and I_

 _Have a task we share_

 _Stopping them and their proliferation_

 _Paris looks to us_

 **PHOEBUS**

 _To us!_

 **FROLLO**

 _To rid her streets of crime_

 **PHOEBUS**

 _To rid her streets of crime!_

 **FROLLO**

 _This is war and thus_

 **FROLLO and PHOEBUS**

 _There is no time for REST AND RECREATION!_

(The song and drum cadence ends and the audience applauds)

* * *

 **Without a doubt, one of my most favorite songs ever. When I first heard this song in its original German, I was very happy to hear Phoebus finally sing. I was even more excited to hear it was the same tune from the film. You can imagine my joy when I finally heard this song in English. It's great to finally hear Phoebus have his own theme song.**

 **Also, Phoebus is the same as his animated design, in case I did not describe it good enough.**

 **I should also point out that the stage adaptations have Phoebus be more of a self-centered ladies man who gains a change of heart after witnessing Esmeralda's kindness and courage, and how Frollo's insanity and cruelty affects Paris and decides to defy Frollo and be by Esmeralda's side. While this does happen in the film, the stage adaptations make it a bit more pronounced.**


	5. Act I: TOPSY TURVY

**And now, Ladies and Gentlemen, the** _**pièce de résistance!**_

 **Here it is! The moment you've been waiting for!**

 **Here it is! You know exactly what's in store!**

 **Now's the time we laugh til our sides get sore!**

 **It's time for** _ **TOPSY TURVY DAY**_ **!**

 **Both stage versions of** _ **Hunchback**_ **give a brief number to Quasimodo in the beginning of the song (the German version is used here) and a whole new number to Esmeralda called** _ **THE RHYTHM OF THE TAMBOURINE**_ **which plays during her dance.**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT I** _ **TOPSY TURVY**_

* * *

Frollo and Phoebus walk stage right where they will watch the Festival of Fools. A fanfare plays while the stage begins to turn into the Festival of Fools complete with colorful streamers, banners, and tents. The citizens of Paris come out, as do all the gypsies dressed in colorful and playful costumes and masks. Clopin, still dressed in his monk's habit, steps forward. The gypsies dance as they sing...

 **GYPSIES**

 _Come one, come all!_

 _Leave your looms and milking stools_

 _Coop the hens and pen the mules_

 _Come one, come all!_

 _Close the churches and the schools_

 _It's the day for breaking rules_

 _Come and join the Feast of..._

(Clopin's monk robes are torn off revealing his colorful jester's outfit. He jumps in to join in the song. Confetti is launched into the air)

 **CLOPIN**

 _Fools!_

(Clopin jumps in and stands in the center to introduce himself to the audience with a showman's bow)

 **CLOPIN**

Introducing Clopin Trouillefou, ladies and gentlemen, King of the gypsies, a gentlemen of fortune among the scum of Paris, and a wild card among this deck of knaves!

(Clopin and the Gypsies perform several elaborate, wild, and crazy dances to the song)

 **CLOPIN**

 _Once a year, we throw a party here in town_

 _Once a year, we turn all Paris upside-down_

 _Every man's a king and every king's a clown_

 _Once again it's TOPSY TURVY day!_

 **GYPSIES**

 _It's the day the devil in us gets released_

 _It's the day we mock the prig and shock the priest_

 **CLOPIN**

 _Everything is TOPSY TURVY at the Feast of Fools_

 **GYPSIES**

 _TOPSY TURVY_

 **CLOPIN**

 _Everything is upsy daysy_

 **GYPSIES**

 _TOPSY TURVY_

 **CLOPIN**

 _Everyone is acting crazy_

 _Dross is gold and weeds are a bouquet_

 _That's the way on TOPSY TURVY day_

 **GYPSIES**

 _TOPSY TURVY_

 **CLOPIN**

 _Beat the drums and blow the trumpets!_

 **GYPSIES**

 _TOPSY TURVY_

 **CLOPIN and GYPSIES**

 _Join the bums and thieves and strumpets_

 _streaming in from Chartres to Calais_

 **CLOPIN**

 _Scurvy knaves are extra scurvy_

 _On the sixth on Janu-vary_

 **CLOPIN and GYPSIES**

 _All because it's TOPSY TURVY day!_

(Clopin and the gypsies step back for a moment while another figure steps forward. Quasimodo enters the scene disguised in a dark blue hooded cloak. His part in the song is a reprise of _OUT THERE_ )

 **QUASIMODO**

 _OUT THERE with all the colors and the noises and the smells,_

 _Brighter, louder than my dreams provide me_

 _And tomorrow, when I'm back in there watching from the bells_

 _I will always have this day inside me_

(He shuffles off to the side, while Clopin and the Gypsies perform a few more dances)

 **GYPSIES**

 _TOPSY TURVY_

 **CLOPIN and GYPSIES**

 _Come one, come all_

 **CLOPIN**

 _Hurry, hurry, here's your chance_

 _See the mystery and romance_

 **GYPSIES**

 _Come one, come all_

 **CLOPIN**

 _See the finest girl in France_

 _Make an entrance to entrance_

 _Dance la Esmeralda..._

 _Dance!_

(Flash of light and smoke, and appears a beautiful dark-skinned, raven haired, emerald eyed gypsy girl; Esmeralda. She is dressed in a tight red and purple dress, a golden tiara upon her head, in her hands a tambourine and a purple scarf. Her long skirt flows everywhere as she dances a very alluring and seductive dance. Quasimodo and Phoebus watch with great interest, while Frollo is repulsed...at first.)

 **FROLLO**

Look at that disgusting display.

 **PHOEBUS**

Yes, sir!

(A new song begins here, called _THE RHYTHM OF THE TAMBOURINE_ )

 **ESMERALDA **

_Hey, soldier boy_

 _I see how you stare_

 _Hey butcher man_

 _I see you admire_

 _Come gather 'round_

 _Hey, Jacques and Pierre_

 _Come see me dance_

 _To THE RHYTHM OF THE TAMBOURINE_

(The crowd goes wild, as her alluring and seductive dance continues. Frollo has now become interested in her "disgusting display".)

 **ESMERALDA **

_Flash of an ankle_

 _Flip of a skirt_

 _Feel them excite_

 _Inflame and inspire_

 _Come see me dance_

 _Hey, what can it hurt?_

 _It's just a dance_

 _To THE RHYTHM OF THE TAMBOURINE..._

(The dance and the orchestra continues for a while, and then the song returns with the three men have gained the most interest in Esmeralda; Quasimodo, Phoebus, and Frollo.)

 **PHOEBUS**

 _This girl...who is she?_

 **FROLLO**

 _This girl...who is she?_

 **QUASIMODO**

 _This girl...who is she?_

 **FROLLO**

 _She dances like the devil himself_

 **PHOEBUS**

 _She dances like an angel_

 **QUASIMODO**

 _An angel!_

 **PHOEBUS**

 _But with such fire..._

 **FROLLO**

 _Such fire!_

 **QUASIMODO, PHOEBUS, and FROLLO**

 _Who is she?_

 **ESMERALDA **

_Men of Paris_

 _Before we get old_

 _Come feel the heat_

 _Come taste the desire_

 _Feel them within you_

 _Crimson and gold_

 _Gold like the coins_

 _You will toss into my TAMBOURINE_

 _When I dance to THE RHYTHM OF THE TAMBOURINE!_

(Esmeralda finishes her dance as does the song. She keeps her tambourine but drops the scarf, and then she bumps into Quasimodo. Quasimodo flinches in fear but Esmeralda shows no hint of fear. She smiles at him.)

 **ESMERALDA**

Sorry. By the way, great mask!

(The song _TOPSY TURVY_ resumes)

 **CLOPIN**

 _And now, ladies and gentlemen, the pièce de résistance!_

 _Here it is, the moment you've been waiting for_

 _Here it is, you know exactly what's in store_

 _Now's the time we laugh until our sides get sore_

 _Now's the time we crown the king of fools!_

 _Make a face that's horrible and frightening_

 _Make a face as gruesome as a gargoyle's wing_

 _For the face that's ugliest will be the king of fools_

 _Why?_

 **GYPSIES**

 _TOPSY TURVY_

 **CLOPIN**

 _Ugly folks, forget your shyness_

 **GYPSIES**

 _TOPSY TURVY_

 **CLOPIN**

 _You could soon be called "your highness"_

 **GYPSIES**

 _Put your foulest features on display!_

 **CLOPIN and GYPSIES**

 _Be the king of TOPSY TURVY day!_

(Several men try by making their best ugly faces, but Clopin and the Gypsies reject them all. Esmeralda notices Quasimodo as he is trying to get away. She tries to get him to join in the competition.)

 **ESMERALDA**

Hey, you're going to join in the competition, right?

 **GYPSIES**

 _TOPSY TURVY_

 **ESMERALDA**

Wouldn't you like to be crowned king for a day?

 **GYPSIES**

 _TOPSY TURVY_

 **ESMERALDA**

Come on, you didn't go to all the trouble of making that great mask for nothing!

 **GYPSIES**

 _TOPSY TURVY_

(Esmeralda takes off Quasimodo's cloak and the crowd gasps in shock and horror, as his appearance is revealed to not be mask but his face. None of them are more shocked or embarrassed as Frollo. Quasimodo tries to hide his face in shame.)

 **CROWD**

He's hideous!

Is that a mask?

It's his face!

Demon!

Impossible!

Boy is cursed!

(Clopin intervenes to stop the crowd's panic)

 **CLOPIN**

Ladies and gentleman!

Don't panic, we are in luck!

We asked for the ugliest face in Paris, and here he is!

Quasimodo, The Hunchback of Notre Dame!

(Clopin and Esmeralda dress Quasimodo in a tattered purple fur cape with a jester's crown and scepter. Quasimodo has now been crowned King of Fools, all the gypsies bow to him, and for once he looks happy. He joins Clopin and Esmeralda in the dance.)

 **CLOPIN**

Ev-ery-bo-dy!

 **GYPSIES**

 _Once a year we throw a party here in town_

 **CLOPIN**

 _Salutin' to the king!_

 **GYPSIES**

 _Once a year we turn all Paris upside-down_

 **CLOPIN**

 _Oh what a king!_

 **GYPSIES**

 _Once a year the ugliest will wear the crown_

 **CLOPIN**

Girls, give a kiss!

(Two random girls kiss Quasimodo on his checks)

 **GYPSIES**

 _Once a year on TOPSY TURVY day_

 **CLOPIN**

 _We've never had a king like this!_

 **CLOPIN and GYPSIES**

 _It's the day we do the things that we deplore_

 _On the other three hundred and sixty-four_

 _Once a year we love to drop in_

 _Where the beer is never stoppin'_

 _For the chance to pop some popinjay_

 _And pick a king who puts the "top" in TOPSY TURVY day_

 _TOPSY TURVY_

 _Mad and crazy, upsy-daysy_

 _TOPSY TURVY Day_

 _Hey!_

(Confetti is launched into the air one more time as the orchestra finishes this merry and jovial song. Clopin, Esmeralda, Quasimodo, and the gypsies strike a pose; and the audience applauds)

* * *

 **TOPSY TURVY is definitely one of Disney's best "party" mega musical numbers.**

 **Esmeralda is the same as her animated design, in case I did not describe it good enough. Here she is dressed in the outfit she wore at the Festival of Fools. The white and purple dress she wears throughout the rest of the film will appear shortly after this.**

 **Clopin is the same as his animated design, in case I did not describe it good enough. We saw his face in the first chapter, but now we see him wear the colorful Jester outfit that he wears throughout most of the film.**

 **Quasimodo's king of fools outfit is the same as its animated design. I think I described it good enough here.**

 **I mentioned the changes the stage adaptation made to this song/sequence like Quasimodo's and Esmeralda's musical numbers, but both stage adaptations have the King of Fools elected the same way the novel does; by poking your head though a painted wooden screen of a king. I thought that was a cool detail from the book they decided to put it in the stage adaptations.**

 **Don't you think it's interesting how all the marketing and merchandising around** _ **The Hunchback of Notre Dame**_ **back in 1996 focused on the Festival of Fools as if that is what the whole point of the film was? The Festival of Fools lasts for about 10 minutes of screen time (counting the song, Quasimodo's humiliation, and Esmeralda's escape) and yet almost all the marketing and merchandise makes it seem like that is what the film was about. I think Disney wanted to it be that way so that it would not discourage kids and families from seeing the film. In a way, I think this film had a brilliant marketing campaign because it made you think this film was about an elaborate neighborhood block party; but when you saw the film from beginning to end you realized, from** ** _THE BELLS OF NOTRE DAME_** **onwards, that it was about the human drama of what makes a monster and what makes a man, and that the festival of fools was only a small sequence that happened, and then the rest of story moved forward from there. Post-1996 to now Disney has made it much clearer that Hunchback was about the characters not the Festival of Fools.**


	6. Act I: GOD HELP THE OUTCASTS

**Now we come to one of my favorite songs of all time.**

 **Not just** ** _Hunchback_** **, not just Disney, but just songs, period.** ** _GOD HELP THE OUTCASTS_** **, a humble and beautiful song of humble and beautiful prayer.**

 ** _Der Glöckner_** **gave Quasimodo a small part in this song alongside Esmeralda. I'm not sure why, but maybe it was to make this song a little longer, since it is a pretty short song.**

 **I also included in here the song from the stage adaptations that precedes** ** _GOD HELP THE OUTCASTS_** **which narrates Quasimodo and Esmeralda entering the Cathedral.**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT I** ** _GOD HELP THE OUTCASTS_**

* * *

The colorful streamers, banners, and tents disappear as the song ends and another begins. The Archdeacon and Clopin step forward to narrate the rest of the action. The characters perform the action of the narration silently in the background...

 **CLOPIN**

For his first time in the world OUT THERE, Quasimodo was finally happy. Unfortunately Quasimodo's happiness was not to last as the crowd began to turn on him in cruel jest because of his appearance. The crowd pelted him in rotten food and tied him down on a platform and begin to pelt him with even more rotten food, whip him, and taunt him unmercifully. Captain Phoebus requested permission to stop this cruelty, but Frollo refused. "A lesson needs to be learned here" Frollo insisted. Only the gypsy girl, Esmeralda intervened and saved Quasimodo from his torment. Frollo, furious from her defiance of him, ordered her arrested. A flash of light and smoke and she escaped from his wrath. As Esmeralda became the most wanted criminal in all of Paris, Frollo turned his fury to Quasimodo's defiance...

(A furious Frollo walks up to the humiliated Quasimodo, and a reprise of _SANCTUARY_ plays)

 **FROLLO**

 _See how it's cruel_

 _See how it's wicked_

 _See how I've sheltered you from having to go through this_

 _How could you do this to me?_

 **QUASIMODO**

I'm sorry, Master. I will never disobey you again.

 **FROLLO**

 _Now, boy you see you don't belong with normal men_

 _You are happy when you're in your SANCTUARY_

 **QUASIMODO**

 _SANCTUARY_

 **FROLLO**

 _Back to your SANCTUARY_

 _Never to come out here again_

(Quasimodo limps/walks up to and through the doors of the Cathedral, humiliated. Frollo grabs Esmeralda's neglected scarf when he thinks no one is looking, and leaves stage left. Esmeralda is now dressed in her street clothes, a white and purple dress. Esmeralda, disguised as hunched over old woman, follows Quasimodo though the doors of Notre Dame. The Archdeacon and Clopin reprise _THE BELLS OF NOTRE DAME_ as they continue their narration)

 **CLOPIN**

 _So the poor hunchback retreated back in through The Doors of NOTRE DAME_

 _And there followed the gypsy girl who'd never been through The Doors of NOTRE DAME_

 **ARCHDEACON**

 _And she stopped and beheld all the beauty like a beggar receiving an alm_

 _And each window, and pillar, and arch, filled her with light_

 _THE LIGHT OF NOTRE DAME_

(The stage then turns into the interior of Notre Dame. The projection screen becomes the cathedral's vast hallways, lines of lighted candle stands appear from both sides of the stage, a statue of the Holy Virgin Mary holding her infant son, the Lord Jesus Christ, appear on the projection screen as well. The Rose Window in the model of Notre Dame starts glowing with light.)

 **CHOIR**

 _AGNUS DEI_

 _QUITOLLIS PECCATA MUNDI_

 _AGNUS DEI_

 _DONA NOBIS PACEM_

(The Archdeacon approaches Esmeralda, as she sheds her disguise, and stares in wonder at her surroundings)

 **ARCHDEACON**

Do not worry anymore, my child. In here, you have sanctuary. In here, you are safe. I have known Frollo for a long time. He knows to respect the sanctity of the Church.

 **ESMERALDA**

At least he respects something. Why does he hate me and my people so much?

 **ARCHDEACON**

Frollo blames the gypsies for the death of his brother, and his defrockment from the Priesthood.

 **ESMERALDA**

So because of one of us, he hates us all? He has no mercy for me, my people, or this city. You saw what he did out there, letting crowd torture that poor boy. I thought if just one person could stand up to him then... (sigh of defeat). What do they have against people who are different anyway?

 **ARCHDEACON**

You can not wrong all the wrongs of this world by yourself, but there are those in here who can. The people come to Notre Dame, to pray to our Lord Jesus Christ who saves us from our sins. They also pray for the intercession of our Church's Patron Saint The Holy Virgin Mary, his mother. The Mother of God is the most favored one, when the people ask for her prayers they ask that she will be quick to intercede for the Lord on our behalf, so that we will be saved.

 **ESMERALDA**

Even the outcasts?

 **ARCHDEACON**

Especially the outcasts. Unlike us, God sees beyond our appearance, for who we truly are. We are all God's children, He wants us all to come home to him, He wants us all to be saved, if we if are humble, repentant, and come to him. Perhaps in your sanctuary here, you can find peace.

(The Archdeacon makes the Sign of The Cross on himself and Blesses the audience the same way. He then walks stage right and stands in the background, and Prays. Several parishioners appear on both sides of the stage. Esmeralda kneels in Prayer as she sings.)

 **CHOIR**

 _AGNUS DEI_

 _QUITOLLIS PECCATA MUNDI_

 _AGNUS DEI_

 _DONA NOBIS PACEM_

(The orchestra begins a humble and gentle tune.)

 **ESMERALDA**

 _I don't know if you can hear me_

 _Or if you're even there_

 _I don't know if you would listen to a Gypsy's prayer_

 _Yes, I know I'm just an outcast_

 _I shouldn't speak to you_

 _Still, I see your face and wonder_

 _Were you once an outcast too?_

(Quasimodo appears stage right. He kneels in Prayer as well. Esmeralda is unaware of his presence.)

 _GOD HELP THE OUTCASTS_

 _Hungry from birth_

 _Show them the mercy_

 _They don't find on Earth_

 _GOD help my people_

 _They look to you still_

 _GOD HELP THE OUTCASTS_

 _When nobody will_

 **QUASIMODO**

 _GOD HELP THE OUTCASTS_

 _Hungry from birth_

 _Show them the mercy_

 _They don't find on Earth_

 **PARISHIONERS**

 _I ask for wealth_

 _I ask for fame_

 _I ask for glory to shine on my name_

 _I ask for love I can possess_

 _I ask for GOD and His angels to bless me_

 **ESMERALDA**

 _I ask for nothing_

 _I can get by_

 _But I know so many_

 _Less lucky than I_

 _Please help my people_

 _The poor and downtrod_

 _I thought we all were_

 _The children of God_

 **QUASIMODO**

 _GOD HELP THE OUTCASTS_

 **ESMERALDA**

 _For the gypsies,_

 _Lady of Heaven_

 _Whisper a kind word in your Son's ear_

 **QUASIMODO**

 _For the gypsies,_

 _Lady of Heaven_

 _Whisper a kind word in your Son's ear_

 **ESMERALDA and QUASIMODO**

 _GOD HELP THE OUTCASTS_

 _Children of God_

(The orchestra finishes the humble and gentle tune and the audience applauds)

* * *

 **CHOIR TRANSLATION**

 ** _Agnus Dei (Lamb of God)_**

 ** _Qui tollis peccata mundi (Who takes away the sins of the world)_**

 ** _Agnus Dei (Lamb of God)_**

 ** _Dona nobis pacem (Grant us peace)_**

 **Definitely one of my favorite songs ever. The added lyrics at the end of the song;**

 **ESMERALDA**

 ** _For the gypsies,_**

 ** _Lady of Heaven_**

 ** _Whisper a kind word in your Son's ear_**

… **Are actually from the Greek dub of** ** _Hunchback._** **In every dub of every Disney film (or animated film in general), the lyrics to the songs, (and the dialogue, and sometimes even the film's title) are always changed to better reflect how the language rhymes to the song's melody. Many of the foreign dubs of Disney songs contain lyrics that are different but similar to the original English lyrics; sometimes they are even better than the original like the Greek dub, shown here.**

 **That's easiest way to learn a new language; Listen to a foreign dub of your favorite Disney song, listen, sing along, and repeat it until you get it right.**

 **The lyrics from the Greek dub, I just had to put in because they are very personal to me as an Orthodox Christian, and I get all choked up when I see those lyrics, or even say or sing them. I'm actually getting all choked up just talking about it right now…**


	7. Act I: TOP OF THE WORLD

**Here comes a pretty good song, that is exclusive to the stage adaptations,** _ **TOP OF THE WORLD**_ **which is when Quasimodo and Esmeralda are in the Bell Tower and are enjoying the view and each other's company.**

 **Both stage adaptations have slightly different versions, but the one used here is from the American/English stage adaptation.**

 **In case I did not mention it before, Esmeralda is now wearing the white and purple dress she wears throughout the majority of the film.**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT I** ** _TOP OF THE WORLD_**

* * *

As _GOD HELP THE OUTCASTS_ ends, the next song begins. Esmeralda turns to her right and finally notices Quasimodo. When Esmeralda notices Quasimodo, he flinches in fear and tries to flee.

 **ESMERALDA**

Wait! Don't be afraid! I'm sorry for what happened today. If I had known who you were, I would never have pulled you up on the stage.

(Quasimodo flees stage right)

 **ESMERALDA**

No, wait!

(Esmeralda pursues him stage right)

(The stage transforms into the Bell Tower set again. The Saints and Gargoyles return for this scene as well. The parishioners leave the scene, while the Archdeacon steps forward to continue his narration...)

 **ARCHDEACON**

This day had not been a complete loss for Quasimodo. Despite his shame and fear, Esmeralda was persistent to make amends for what happened at the Festival of Fools. The two outcasts were about to become the greatest of friends as they would properly meet each other at the _TOP OF THE WORLD_.

(The Archdeacon leaves stage right as Quasimodo and Esmeralda arrive on the scene. Quasimodo tries to hide himself in shame, while Esmeralda looks around awe of the space of the Bell Tower. The orchestra begins a romantic melody...)

 **ESMERALDA**

This is an amazing place. All this room to yourself?

(Quasimodo says nothing, and tries to hide himself some more. The Saints and Gargoyles encourage him to speak to Esmeralda.)

 **SAINT LEONIDAS**

Quasimodo, don't be so shy.

 **VICTOR**

She's waiting for you.

 **MARIE**

Think of something to say.

 **HUGO**

Think of something to do.

 **VICTOR**

I know...

 **GARGOYLES**

Show her the view!

(Quasimodo gains a little courage and shows her the view)

 **QUASIMODO**

See...the view? You can see...everything from up here. The city gates, the river Seine...

 **ESMERALDA**

Yes. It sparkles in the light. I bet even the King himself doesn't have a view like this. I'm glad I can get to see things down there.

 _Gazing down from the TOP OF THE WORLD_

 _Suddenly seeing a different city_

 _Things look tiny and friendly and fair,_

 _Seen from the TOP OF THE WORLD_

 _When you look from high above,_

 _Everything seems pretty_

 _Seeing life from the TOP OF THE WORLD_

 _Nothing needs fighting and no one needs pity_

 _Thanks for giving this moment to me,_

 _When just for a moment, things stop,_

 _Here at the TOP OF THE WORLD_

(The Saints and Gargoyles join in the song. They mainly sing to Quasimodo.)

 **SAINT LEONIDAS**

 _For all these years,_

 **SAINT CHARLES**

 _You've stayed alone,_

 **SAINT ANTHONY**

 _And free from danger_

 **VICTOR**

 _We shared your fears_

 **MARIE**

 _It wasn't safe,_

 **HUGO**

 _To trust a stranger_

 **SAINTS and GARGOYLES**

 _But maybe we were wrong here_

 _Could she belong here?_

 _This girl appears,_

 _And she is kind,_

 _And we're admitting;_

 _We'd give three cheers,_

 _To see you both,_

 _Forever sitting..._

 _Look at you sitting,_

 _On TOP OF THE WORLD_

 **ESMERALDA**

 _Seeing life from the TOP OF THE WORLD_

 **GARGOYLES**

 _This girl appears..._

 **ESMERALDA **

_Nothing needs fighting,_

 **SAINTS**

 _And she is kind_

 **ESMERALDA**

 _And no one needs pity_

 **SAINTS and GARGOYLES**

 _And we're admitting_

 **ESMERALDA **

_Thanks for giving this moment to me,_

 **SAINTS and GARGOYLES**

 _We'd give three cheers..._

 **ESMERALDA**

 _When just for a moment, things stop,_

 **SAINTS and GARGOYLES**

 _To see you both forever sitting_

 **ESMERALDA**

Here at the _TOP OF THE WORLD_

 **SAINTS and GARGOYLES**

 _Look at you sitting on TOP OF THE WORLD_

 **ESMERALDA, SAINTS, and GARGOYLES**

Here at the _TOP OF THE WORLD_

(Quasimodo gains a little more courage, as the Saints and Gargoyles encourage him to be near her)

 **SAINTS and GARGOYLES**

 _Quasimodo, say something!_

 _Take our advice_

 _Be brave and say something!_

 _Please don't think twice!_

 _Quasimodo, say something!_

 **QUASIMODO**

Esmeralda...

(Esmeralda sits next to him)

 **ESMERALDA**

Yes?

 **QUASIMODO**

I... I... It's nice.

The two of us sitting...

 **ESMERALDA**

The two of us sitting...

 **STATUES and GARGOYLES**

The two of you sitting...

 **QUASIMODO, ESMERALDA, SAINTS and GARGOYLES**

Sitting on _TOP OF THE WORLD_!

(Esmeralda kisses Quasimodo's cheek as the Orchestra ends the romantic tune. The audience applauds)

* * *

 **You know, this is a really nice song. I really wish it was in the film. It sounds very much like another Alan Menken song with a similar title...**


	8. Act I: HEAVEN'S LIGHT

**Now it is time for** _ **HEAVEN'S LIGHT**_ **; Quasimodo's song of pure love for Esmeralda.**

 **It is also a prelude to everyone's favorite** _ **Hunchback**_ **song...**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT I** ** _HEAVEN'S LIGHT_**

* * *

After _TOP OF THE WORLD_ ends, Quasimodo takes Esmeralda's hand and they both flee stage right. The stage's lighting, the Cathedral's Rose Window, turns to bright shades of blue and white light. The Archdeacon and Clopin return to narrate. The Archdeacon is holding a censor with burning incense. He will need this for the next song.

 **ARCHDEACON**

Quasimodo led Esmeralda to the basement of Notre Dame where he showed her a secret door that led to the eastern end of the island.

 **CLOPIN**

There he helped her into a small boat and watched as she disappeared into the evening mist. As he watched Esmeralda escape to safety, he returned to the Bell Tower knowing that his whole world had changed because of her.

 **ARCHDEACON**

That night as Quasimodo rang the bells, he prayed for pure hope and pure love. He prayed for _HEAVEN'S LIGHT._

(Quasimodo returns to the scene and takes the spotlight in the center stage. The orchestra begins a soft and humble tune.)

 **QUASIMODO**

 _So many times OUT THERE_

 _I've watched a happy pair_

 _Of lovers walking in the night_

 _They had a kind of glow around them_

 _It almost looked like HEAVEN'S LIGHT_

 _I knew I'd never know_

 _That warm and loving glow_

 _Though I might wish with all my might_

 _No face as hideous as my face_

 _Was ever meant for HEAVEN'S LIGHT_

 _But suddenly an Angel has smiled at me_

 _And kissed my cheek without a trace of fright_

 _I dare to dream that she might even care for me_

 _And as I ring these bells tonight_

 _My cold, dark tower seems so bright_

 _I swear it must be HEAVEN'S LIGHT_

(Quasimodo rings the bells, and the orchestra finishes the soft and humble tune, concluding the song. The audience applauds. Quasimodo rings the bells again, and they toll loudly, signaling the beginning of the next song...)

* * *

 **I love** _ **HEAVEN'S LIGHT**_ **. It is truly Quasimodo's song of pure love for Esmeralda.**

 **It is also a wonderful counterpart to everyone's favorite** _ **Hunchback**_ **song** **...**


	9. Act I: HELLFIRE

**And now we have come to everyone's favorite** ** _Hunchback_** **song...**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT I** ** _HELLFIRE_**

* * *

Quasimodo tolls the final bell and leaves the stage as the lighting disappears, leaving darkness, and the Bells retreat back into the ceiling so they can make way for the next song. Clopin has left since too, and only the Archdeacon remains to continue the narration. He is still holding the censor with burning incense.

 **ARCHDEACON**

Frollo too was entranced by the gypsy girl, but his emotions were more impure and his heart was darkened by this, because he was being tormented by feelings of impure hate, and impure lust. He was being tormented by _HELLFIRE_.

(He proceeds stage right to left swinging the censor with burning incense, his Brother Priests follow behind and they begin a scared chant.)

 **ARCHDEACON and BROTHER PRIESTS**

 _CONFITEOR DEO_

 _OMNIPOTETNI_

 _BEATAE MARIAE SEMPER VIRGINI_

 _BEATO MICHAELI ARCHANGLEO_

 _SANCTIS APSOTOLIS_

 _OMNIBUS SANCTIS_

(The Archdeacon and Brother Priests disappear stage left and Frollo arrives, takes center stage in a white spotlight and kneels)

 **FROLLO**

 _BEATA MARIA_

 _You know I am a righteous man_

 _Of my virtue I am justly proud_

 **CHOIR**

 _ET TIBIT PATER_

 **FROLLO**

 _BEATA MARIA_

 _You know I'm so much purer than the common, vulgar, weak, licentious crowd_

 **CHOIR**

 _QUIA PECCAVI NIMIS_

 **FROLLO**

 _Then tell me, MARIA_

 _Why I see her dancing there_

 _Why her smoldering eyes still scorch my soul_

 **CHOIR**

 _COGITATIONE_

 **FROLLO**

 _I feel her, I see her_

 _The sun caught in her raven hair_

 _Is blazing in me out of all control_

 **CHOIR**

 _VERBO ET OPERE_

 **FROLLO**

 _Like fire_

 _HELLFIRE_

 _This fire in my skin_

(He takes Esmeralda's scarf out of his sleeve and starts feeling it around his face)

 _This burning_

 _Desire_

 _Is turning me to sin_

(The stage lighting becomes a hostile and hellish red, while Frollo remaining in the white spotlight, stands)

 _It's not my fault_

 **CHOIR**

 _MEA CULPA_

 **FROLLO**

 _I'm not to blame_

 **CHOIR**

 _MEA CULPA_

 **FROLLO**

 _It is the gypsy girl_

 _The witch who sent this flame_

 **CHOIR **

_MEA MAXIMA CULPA_

 **FROLLO**

 _It's not my fault_

 **CHOIR **

_MEA CULPA_

 **FROLLO**

 _If in God's plan_

 **CHOIR **

_MEA CULPA_

 **FROLLO**

 _He made the devil so much stronger than a man_

 **CHOIR **

_MEA MAXIMA CULPA_

 **FROLLO**

 _Protect me, MARIA_

 _Don't let this siren cast her spell_

 _Don't let her fire sear my flesh and bone_

 _Destroy Esmeralda_

 _And let her taste the fires of hell!_

 _Or else let her be mine and mine alone_

 _HELLFIRE_

 _Dark fire_

 _Now gypsy, it's your turn_

 _Choose me or_

 _Your pyre_

 _Be mine or you will burn_

(He throws down Esmeralda's scarf and it suddenly bursts into flame)

 **CHOIR**

 _KYRIE ELEISON_

 **FROLLO**

 _God have mercy on her_

 **CHOIR**

 _KYRIE ELEISON_

 **FROLLO**

 _God have mercy on me_

(Frollo, standing, bows his head and folds his arms over his chest)

 **CHOIR **

_KYRIE ELEISON_

 **FROLLO**

(Frollo, standing, lifts his head and arms. The white spotlight disappears and he too is encased in red lighting)

 _But she will be mine_

 _Or_

 _She_

 _Will_

 _Burn!_

(The Choir and Orchestra concludes the song with a vocalization and instrumental of _THE BELLS OF NOTRE DAME_. The audience applauds wildly)

* * *

 **CHOIR TRANSLATION**

 ** _Confiteor Deo Omnipotenti (I confess to God almighty)_**

 ** _Beatae Mariae semper Virgini (To blessed Mary ever Virgin)_**

 ** _Beato Michaeli archangelo (To the blessed archangel Michael)_**

 ** _Sanctis apostolis omnibus sanctis (To the holy apostles, to all the saints)_**

 ** _Et tibit Pater (And to you, Father)_**

 ** _Quia peccavi nimis (That I have sinned)_**

 ** _Cogitatione (In thought)_**

 ** _Verbo et opere (In word and deed)_**

 ** _Mea culpa (Through my fault)_**

 ** _Mea maxima culpa (Through my most grievous fault)_**

 ** _Kyrie Eleison (Lord have mercy)_**

 **Like pretty much everyone else, I was completely blown away when I first heard and saw this song on film. This is truly one of Disney's greatest moments ever put to film.**

 **This song also completely solidifies what I said about Frollo in Chapter 1; he is a prideful, self-righteous, man who does not believe that anything he is doing is evil. He only believes what he is doing good, even though he is not. He sees everyone else to be greater sinners than himself.**

 **I think this also why when I was younger, Frollo was the very first Disney villain I ever felt** _ **genuine**_ **menace from. Frollo, unlike everyone else, doesn't believe he's evil, does not revel in his evil schemes, does evil things most Disney villains would never think of doing, is a member of society rather than a criminal, and his no regrets about anything he does since he thinks it's all for the greater good. All other villains were much too funny, charming, and likable to feel villainous at all. Now that I am older, I do see the menace all the other Disney villains, but Frollo, what makes him special, is that he is a misguided man who tries to be faithful, but does it completely wrong, and it makes everyone around him suffer for it. It also makes his defeat even more satisfying than most other Disney Villains.**

 **I think this is also why Disney does not promote him as much as the villains they have. Frollo's motives, actions, and personality are too realistic for them to handle.**

 **Also, the only the change the stage adaptations made to this song is they removed the scene where Frollo is interrupted by the guard telling him that Esmeralda has escaped. The song sounds much better without that scene and interruption.**


	10. Act I: ESMERALDA

**Now comes what is easily the best song from the stage adaptations of** _ **Hunchback**_ **;** _**ESMERALDA**_ **,** **the closing number of Act I.**

 **This song illustrates the middle act of the film where Frollo and his men search for Esmeralda, burning Paris along the way, Phoebus is discharged for refusing to harm the innocent, and Esmeralda and Phoebus escape from Frollo's wrath.**

 **This is definitely my favorite song from the stage adaptations and I wish it was in the film.**

 **This song is basically the** ** _One Day More_** **of** ** _Hunchback_** **, but better!**

 **While both stage adaptations had the same basic song, they both had their own slight variations of it. This chapter brings the best of both versions together.**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT I** ** _ESMERALDA_**

* * *

The scene changes as Clopin returns to the stage to continue the narration...

 **CLOPIN**

On the very next morning, Frollo was furious to find out that Esmeralda had escaped from Notre Dame. Now that she had escaped her sanctuary, she was now subject to the laws of the city, and Frollo's wrath.

(Clopin moves stage left. A fanfare plays and a solider steps forward reading from a scroll)

 **SOLDIER**

 _By royal edict, warrant of arrest:_

 _The gypsy known as ESMERALDA_

 _Being under suspicion of sorcery, witchcraft, and the arts of hell_

 _Anyone found harboring or helping her will be charged as well_

(The soldier closes the scroll and leaves stage left. Frollo arrives on the scene, and a military drum cadence begins)

 **FROLLO**

 _Hunt down the gypsy ESMERALDA_

 _Don't let her flee and vanish in the night_

 _These are the flames of ESMERALDA_

 _While she is free your torches must burn bright_

(Phoebus and the Soldiers arrive on the scene too, and join in the song)

 **FROLLO, PHOEBUS, and SOLDIERS**

 _Hunt down the gypsy ESMERALDA_

 _Don't let her flee and vanish in the night_

 _These are the flames of ESMERALDA_

 _While she is free our torches will burn bright_

(Phoebus and the Soldiers leave stage left, and Frollo walks stage right where Quasimodo is kneeling in a corner alone)

 **FROLLO**

Have no fear, my boy. We will find her and capture her!

 _The wicked shall not go unpunish-ed_

 _The heart of the wicked is of little worth_

 _The wicked shall not go unpunish-ed..._

(Frollo leaves stage right and Quasimodo takes center stage, and sings a brief reprise of _TOP OF THE WORLD_ )

 **QUASIMODO**

 _Trapped up here at the TOP OF THE WORLD_

 _I pray that you are safe from harm, ESMERALDA_

 _Do you know there is danger OUT THERE?_

 _And that danger has come to your world_

(Quasimodo finishes his part and leaves through the doors of the model of Notre Dame. Clopin resumes the narration, while Frollo takes center stage. Phoebus and the Soldiers are in the background, searching though the city, interrogating gypsies and the citizens of Paris left and right)

 **CLOPIN**

 _All through the city, at more fevered pitch than THE BELLS OF NOTRE DAME_

 **FROLLO**

Two gold pieces for the one who leads us to ESMERALDA!

 **CLOPIN**

 _Frollo's men sought ESMERALDA, the witch who escaped from NOTRE DAME_

 **FROLLO**

Four gold pieces for the one who leads us to ESMERALDA!

 **CLOPIN**

 _'_ _Till at last, on a tip and a rumor_

 _They converged on a poor miller's farm_

 _But the miller denied he had helped her, and cried out to the SAINTS_

 _THE SAINTS OF NOTRE DAME_

 **CHOIR**

 _KYRIE ELEISON_

(A miller and his family come on stage shackled. Frollo, Phoebus and the Soldiers come forward to interrogate them. The citizens of Paris take interest and watch the scene. One of those citizens is Esmeralda disguised as a bent over old man. An open barrel of water is also by the miller and his family.)

 **FROLLO **

We're looking for La ESMERALDA.

 **MILLER**

We've never heard of her.

 **FROLLO**

If you want your house to remain standing, give us the gypsy girl. Have you been harboring gypsies?

 **MILLER**

I know nothing of gypsy girls. Our home is always open to the weary traveler. We are innocent. Have mercy your honor.

 **FROLLO**

Very well. We'll set fire to it.

 **PHOEBUS**

What?!

 **FROLLO**

Until it smolders. These people are traitors and must be made examples of.

 **PHOEBUS**

With all due respect, Sir. I was not trained to murder the innocent.

 **FROLLO**

But you were trained to follow orders. Burn it.

(Frollo hands Phoebus a torch and he takes it. Phoebus stands still, hesitant to carry out the order)

 **FROLLO**

Did you hear me, Captain?

 **CLOPIN**

 _And he held the torch that crackled like the gypsy's voice..._

 **FROLLO**

Are you disobeying a direct order?

 **CLOPIN**

 _And he knew this was the moment he must make a choice..._

 **CHOIR**

 _GOD HELP THE OUTCASTS_

 _They look to you still_

 **FROLLO**

I knew it. She's bewitched you, too. You would throw away a promising career? Captain? Carry out the order!

 **CHOIR**

 _GOD HELP THE OUTCASTS_

 _Or nobody will_

 **PHOEBUS**

 _GOD HELP THE OUTCASTS_

 _Or nobody will!_

(Phoebus throws the torch into an open barrel of water)

 **FROLLO**

 _Coward! Traitor! Gypsy's pawn!_

 _You're relieved of your patrol_

 **PHOEBUS**

Consider it my highest honor.

 **FROLLO**

 _KYRIE ELEISON_

 _God have mercy on your soul!_

 _Arrest Captain Phoebus._

 **ESMERALDA**

No!

(Esmeralda sheds her disguise and runs to save Phoebus)

 **FROLLO**

You see?! There she is!

(The Citizens of Paris flee the scene. Phoebus, Esmeralda and the soldiers engage in a brief battle. At some point during the battle Phoebus gets seriously injured, and Esmeralda comes to his aid.)

 **CLOPIN**

 _And as his bow, the soldier drew_

 _Who should appear? The gypsy ESMERALDA_

 _She hurled a stone, the arrow flew_

 _And then they both escaped into the dark_

(Esmeralda and Phoebus quickly flee, stage right)

 **FROLLO**

Don't stand there, get them! I don't care if you have to burn down all of Paris!

(Frollo takes center stage)

 _Good people of Paris_

 _I've heard the calling of the Lord_

 _The time has come to take our city back_

 _We'll save our Paris_

 _Expunge this heathen gypsy horde_

 _Before we're overrun, we must attack!_

 _Hunt down the gypsy ESMERALDA_

 _Don't let her flee and vanish in the night_

 _These are the flames of ESMERALDA_

 _While she is free our torches must burn bright_

(The Soldiers join in)

 **FROLLO and SOLDIERS**

 _Hunt down the gypsy ESMERALDA_

 _Don't let her flee and vanish in the night_

 _These are the flames of ESMERALDA_

 _While she is free our torches will burn bright_

(Frollo leaves stage left, while the Soldiers leave on both sides. Quasimodo, the Saints, and the Gargoyles take center stage. Quasimodo is surrounded and protected by the Saints and Gargoyles as he sings his part)

 **QUASIMODO**

 _Fire! Fire! Smoke and flame_

 _ESMERALDA, where are you?_

 _In this dark, I call your name_

 _Is that all that I can do?_

(Phoebus returns to the scene, stage right. He is stripped of his armor, cape and weapons and is now only dressed in his white undershirt, brown tights, and brown boots. He is also wearing a cast over his shoulder and arm.)

 **PHOEBUS**

 _What have I done for ESMERALDA?_

 _Why did I hear her words inside my head?_

 _And still I think of ESMERALDA_

 _With my career and body left for dead_

(Frollo returns, stage left)

 **FROLLO**

 _Once more my duty calls_

 _Paris is burning_

 _Lit to expose that furtive pair_

 _Sneaking about OUT THERE..._

 **QUASIMODO**

 _OUT THERE somewhere she is lost..._

 **PHOEBUS**

 _Somewhere she is lost..._

 **QUASIMODO**

 _ESMERALDA_

(The Soldiers and Citizens of Paris join in the chorus. They are placed evenly on both sides of the stage behind Frollo, Quasimodo, The Saints, the Gargoyles, and Phoebus)

 **QUASIMODO, FROLLO, PHOEBUS, SOLDIERS, and CITIZENS OF PARIS**

 _Where is the girl called ESMERALDA?_

 _The flames grow tall_

 _And sharp as fleur-de-lis_

 **CHOIR**

 _MISERICORDIA_

 **QUASIMODO, PHOEBUS, and FROLLO**

 _All Paris burns for ESMERALDA_

 _And still it all_

 _Comes down to her and me_

 **CHOIR**

 _ET DONA NOBIS PACEM_

 **FROLLO **

_The devil dwells in ESMERALDA_

 **QUASIMODO**

 _Oh ESMERALDA_

 **PHOEBUS**

 _I've got to find her!_

 **QUASIMODO**

 _Oh ESMERALDA_

 **FROLLO**

 _Resist her charms_

 **QUASIMODO, SAINTS, and GARGOYLES**

 _Wake up the city and sound the alarm!_

 **FROLLO and SOLDIERS**

 _Wake up the city and sound the alarm!_

 **PHOEBUS and CITIZENS OF PARIS**

 _Wake up the city and sound the alarm!_

(The Archdeacon and Clopin join for the final chorus)

 **ALL**

 _These are the flames of ESMERALDA_

 **CHOIR**

 _DONA NOBIS PACEM_

 **ALL **

_The night is singing_

 **CHOIR**

 _ET DONA NOBIS PACEM_

 **ALL**

 _Of ESMERALDA_

 **CHOIR**

 _DONA NOBIS PACEM_

(The Bells return and descend from the ceiling)

 **ALL**

 _Even the BELLS_

 **CHOIR**

 _Sing the BELLS_

 **ALL**

Of

 _NOTRE_

 _DAME_

(Quasimodo rings the bells. The Bells, Choir, and Orchestra perform a powerful reprise of the tune of _THE BELLS OF NOTRE DAME_. Ending on a high note, the stage goes dark, thus completing ACT I. The audience applauds enthusiastically).

* * *

 **CHOIR TRANSLATION**

 ** _Kryie Elesion_** **(Lord Have Mercy)**

 _ **Misericodia**_ **(Lord Have Mercy)**

 _ **Dona nobis pacem**_ **(Grant us peace)**

 **Again, what an incredible song!**

 **I love this song so much that I now have a hard time watching the film now without this song in it. Granted, the soundtrack, dialogue, and action, fill these scenes in great; but now that I have heard the musical version of these scenes. It is now hard to watch the film without this song in it.**

 **I now typically pause the film in between those scenes to listen to the parts of the song that match the action on screen. It works pretty effectively; to me.**

 **I have to wonder; when Alan Menken and Stephen Schwartz where writing the songs and score to** _ **Hunchback**_ **was** _ **Les Misérables**_ **a source of inspiration? Because to me, I definitely hear musical similarities between the two of them. As I said before, it is heard not hear ESMERALDA and hear a bit of** _ **ONE DAY MORE**_ **in it. That is question I would love to ask Mr. Menken; that is if I ever get to meet him, and I am not too starstruck by him!**

 **I also think that the new songs in the** _ **Hunchback**_ **stage shows fit pretty well next to the original songs form the film, like they were always there. Some of the other stage shows that Disney has produced (I won't say which ones, because that is a very subjective opinion, and I leave that up to you, the audience, to decide for yourselves) don't have that same quality, because they are many songs in all those other stage shows fell very out of place when compared to the original songs from the film.** _ **Hunchback**_ **is definitely the exception to that problem, and the new songs fit in perfectly compared to the original songs from the film.**


	11. INTERMISSION ENTR'ACTE

**INTERMISSION and ENTR'ACTE**

* * *

After the powerhouse number that was _ESMERALDA_ , a brief Intermission has begun. The lights have gone down onstage, and the cast, choir, and orchestra has since left back stage to take a short break during Intermission.

Everyone in the audience, including you, has gotten up from their seat. Everyone leaves the arena to do what one normally does at the intermission of a show; stretch your legs, go to the bathroom, chat on the phone, chat with other people, get some drinks and snacks, and of course buy merchandise.

After you did all those things you had to go to one of the booths to get the exciting new _Hunchback_ merchandise made exclusively for this show. The cool new collectibles they have available for purchase include (but are not limited to); The Concert Program, The Original Cast Recording on CD, The Poster, multiple T-shirts, multiple car and refrigerator magnets, Coffee Mugs, special character mugs (like the kind sold at _Disney On Ice_ shows), plush toys of the characters, and hats (some of them are replicas of Frollo's hat).

The stuff you bought include: The Concert Program, The Original Cast recording on CD, The Poster, 4 different T-Shirts, 4 special character mugs, and a collection of plush toys of the characters. You probably blew your entire budget on that stuff, but you don't really care. You're going to leave the show with a full collection of new merchandise and an empty wallet; so what are you complaining about?

Probably that Disney doesn't promote _Hunchback_ as much as their other movies, and how if they did you would not be so desperate to break the bank for new merchandise.

With your treasures safely in tow, you make your way back to your seat.

After a few more minutes of waiting (which feels more like an eternity), the lights go up, and the orchestra and choir makes their return. In sync, the choir and orchestra sings/plays an exciting tune for the Entr'acte which is a suite for the songs of Act II.

The audience applauds with great enthusiasm, and _THE HUNCHBACK OF NOTRE DAME In Concert_ resumes...


	12. Act II: CITY UNDER SIEGE

**Now we begin Act II with a great song exclusive to** _ **Der Glöckner von Notre Dame**_ **;** _ **CITY UNDER SIEGE**_

 **This song is basically about Frollo's obsessive search for Esmeralda, and how this is affecting the citizens of Paris.**

 **It's another good song that never quite made it's way into English adaptations, but thanks to good English translations of** ** _Der Glöckner_** **,** **and the story you are reading right now, you can enjoy this song like never before. It would be better if I had the ability to make a video of it instead, so you're going to have to use your imagination a bit on this one. You can also find this song on YouTube if you look patiently enough.**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT II** _ **CITY UNDER SIEGE**_

* * *

 _THE HUNCHBACK OF NOTRE DAME In Concert_ resumes. The stage lighting has turned a hostile and angry red. The Choir resumes their sacred hymmns..

 **CHOIR**

 _DIES IRAE_

 _DIES ILLA  
_

 _SOLVENT SAECLUM IN FAVILLA  
_

 _QUANTAS TREMOR EST FUTRUS  
_

 _QUANDO JUDEX EST VENTURUS_ **  
**

(Soldiers march back and forth, while the Citizens of Paris come forth because this is their song. Clopin joins as well for the song and narration. The Orchestra begins a militant and suspenseful tune.)

 **CLOPIN**

The search for the gypsy girl continued on for days. Frollo, completely obsessed in his search for Esmeralda, had burnt more than half of Paris, while the other half of the city lived in fear of the Minister of Justice's wrath. It became clear that Paris was being destroyed, not by outside forces, but it's own soldiers sworn to protect the city. Paris had now become a...

 **CITIZENS OF PARIS**

 _CITY UNDER SIEGE_

 _There are soldiers marching in the street_

 _CITY UNDER SIEGE_

 _There are cries at night and running feet_

 **CLOPIN**

 _Frollo and his legions policing the town unceasingly_

 _Cordoning the regions and searching them one-by-one_

 **CITIZENS OF PARIS**

 _Little did we know when our Justice Minister_

 _Said the Gypsies ought to be brought to none_

 _Somehow it would grow into something sinister_

 _Till we all were caught in a CITY UNDER SIEGE_

(Frollo appears stage left and one solider steps forward, salutes, and gives his report)

 **SOLDIER**

Sir! We've looked everywhere, and still no sign of the gypsy girl!

 **FROLLO**

I had the entire Cathedral surrounded. Guards at every door. There is no way she could have escaped.

(The Cathedral's bells start ringing, and Frollo looks up)

 **FROLLO**

Unless...

(Frollo finally figures out how Esmeralda escaped Notre Dame, and leaves stage left without another word, and the song continues)

 **CITIZENS OF PARIS**

 _CITY UNDER SIEGE_

 **CLOPIN**

 _There are squadrons flanking every side_

 **CITIZENS OF PARIS**

 _CITY UNDER SIEGE_

 **CLOPIN**

 _And it's hard to find a place to hide_

 _Armored men on horses imposing a state of martial law_

 _Marshaling their forces to finish what they've begun_

 **CITIZENS OF PARIS**

 _Justice Frollo told us that he was freeing us_

 _From the gypsy hordes who would overrun_

 _Now we've got his soldiers overseeing us_

 _Brandishing their swords_

 **CLOPIN and the CITIZENS OF PARIS**

 _In a CITY UNDER SIEGE!_

 **CHOIR**

 _KYRIE ELESION_

 _KYRIE ELESION_ **  
**

(The orchestra concludes the song, and the audience applauds. Clopin, the Soldiers, and the Citizens of Paris leave on both sides of the stage to prepare for the next song.)

* * *

 **CHOIR TRANSLATION**

 ** _Dies Irae, Dies Illa_ (Day of wrath, that day)**

 ** _Solvet saeclum in favilla_ (Shall consume the world in ashes)**

 ** _Quantus tremor est futurus_ (What trembling is to be)**

 ** _Quando Judex est venturus_ (When the Judge is come)**

 ** _Kyrie Eleison_ (Lord have mercy)**

 **Another great song that didn't make it's way to the English version.**

 **Too bad.**


	13. Act II: A GUY LIKE YOU

**Now we come to what is possibly everyone's least favorite** _ **Hunchback**_ **song** _ **...**_

 **I kept this song in here since the main point of this song is the gargoyles getting Quasimodo's hopes up that Esmeralda has fallen in love with him because there is no else like him...**

 **...only to be utterly crushed later on when it turns out that Esmeralda has chosen Phoebus, and only sees Quasimodo as a friend.**

 **I think** ** _Der Glöckner's_** **version of this song is actually better because it cuts out all the visual gags, inserts improved lyrics with more French words, and gives Quasimodo a place in the song. That is the version used here.**

 **I have my own ideas about why I think the gargoyles of** _ **Hunchback**_ **are not as well loved as other sidekicks in other Disney films, but I saved that for the end of this chapter.**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT II** _ **A GUY LIKE YOU**_

* * *

The stage changes back into the Bell Tower set and at first only the Saints and Gargoyles arrive on the scene. They look over the stage as though they are looking over the streets of Paris, alarmed by the destruction taking place in the city now.

 **SAINT LEONIDAS**

Look down there! What madness is this?!

 **SAINT CHARLES**

Paris is burning because Frollo's soul is incapable of love, because of his hatred for the gypsies.

 **SAINT ANTHONY**

What you see there is the result of a man tortured by his own hardened heart and makes the whole city suffer because of that.

(The Saint Pray for Paris to be delivered from this chaos, while it is the gargoyles' turn to speak)

 **MARIE**

Oh, it doesn't look good.

 **VICTOR**

It's hopeless. Absolutely hopeless. That poor Gypsy girl. I'm beginning to feel the worst.

 **SAINT LEONIDAS**

I know, but now don't you say anything to upset Quasimodo. He's worried enough already.

 **HUGO**

Yeah, you're right. We'd better lighten up.

(Quasimodo arrives stage right, and walks/limps over to join them)

 **SAINT CHARLES**

Sh-sh-sh! Here he comes.

 **MARIE**

Now just stay calm.

 **SAINT ANTHONY**

Not a word.

 **HUGO**

Easy does it.

 **VICTOR**

Stone-faced.

 **QUASIMODO**

Any sign of her?

(Victor breaks down and wails)

 **VICTOR**

Doh, it's a lost cause! She could be anywhere! In the stocks! In the dungeon! On the rack! Oh God...

(Marie responds sarcastically)

 **MARIE**

Nice work, Victor.

 **QUASIMODO**

No, he's right. What are we gonna do?

 **SAINT LEONIDAS**

Don't Worry Quasimodo. She shall be safe from harm.

 **HUGO**

Yeah! If I know Esmeralda, she's three steps ahead of Frollo, and well outta harm's way.

 **QUASIMODO**

Do you really think so?

 **SAINT CHARLES**

When peace returns to Paris, she shall return. You'll see.

 **QUASIMODO**

What makes you so sure?

 **SAINT ANTHONY**

Because she loves you. You showed love for each other when no one else would.

 **MARIE**

We always said you were the cute one.

 **HUGO**

I thought I was the cute one.

 **MARIE**

No, you're the fat, stupid one with the big mouth! Take it from us, Quasi. You've got nothing to worry about.

 **HUGO**

Yeah, you're irresistible!

 **VICTOR**

Knights-in-shining-armor certainly aren't her type.

 **HUGO**

And those guys are a dime a dozen, but you? You're one of a kind.

(Saint Anthony is alarmed because the gargoyles have seriously misinterpreted his words.)

 **SAINT ANTHONY**

Actually that's not what meant. What meant was-

(The orchestra begins a romantic tune on a French accordion, while the gargoyle Hugo is the first to sing, interrupting Saint Anthony)

 **HUGO**

 _Paris, the city of lovers_

 _Is glowing this evening_

 _True, that's because it's on fire_

 _But still, there's l'amour_

 _Somewhere OUT THERE in the night_

 _Her heart is also a light_

 _And I know the guy she just might be burning for_

(Hugo points directly at Quasimodo)

 _A GUY LIKE YOU_

 _She's never known, boy_

 _A GUY LIKE YOU_

 _Has charms a girl has rarely known_

 _You've got a look_

 _That's all your own, kid_

 _Could there be two?_

 **GARGOYLES**

 _Like you?_

 _Mais non!_

(The Saints are not impressed by this at all, and try to protest, but are constantly interrupted by the gargoyles every time they try. They just remain silent throughout the rest the song, embarrassed by the gargoyles' antics as they try to dance along to the song)

 **HUGO**

 _Those other guys_

 _That she could dangle_

 _All look the same_

 _From every boring point of view_

 _You're a surprise_

 _From every angle_

 _Mon Dieu above_

 _She's gotta love_

 _A GUY LIKE YOU_

 _ **VICTOR**_

 _A GUY LIKE YOU_

 _Gets extra credit_

 _For having, so to speak_

 _His own unique allure_

 **MARIE**

 _You see that face_

 _You don't forget it_

 **GARGOYLES**

 _Want something new?_

 **ANTOINE**

 _That's you_

 **GARGOYLES**

 _Bien sur!_

 **MARIE**

 _We all have gaped_

 _At some Adonis_

 **VICTOR**

 _But then we crave a meal more nourishing to chew_

 **HUGO**

 _And since you've shaped_

 _Like a croissant is_

 **GARGOYLES**

 _No question of_

 _She's gotta love_

 _A GUY LIKE YOU_

 **MARIE**

 _Sometimes the truth can be cruel Cheri,_

 _But let's face it_

 **VICTOR**

 _There's no dispute_

 _About who is the cutest of us_

(The gargoyles get Quasimodo to dance with them)

 **GARGOYLES**

 _Thus…_

 _This mademoiselle_

 **QUASIMODO**

 _My dear Miss E._

 **GARGOYLES**

 _What joy you bring her_

 **QUASIMODO**

 _So sweet and shy like_

 **GARGOYLES**

 _A fool could tell_

 **QUASIMODO**

 _I'm sure that she_

 **GARGOYLES**

 _It's why she fell_

 **QUASIMODO**

 _Would like what I like_

 **GARGOYLES**

 _For you-know-who_

 **QUASIMODO**

 _And Mon Ami,_

 **GARGOYLES**

 _You ring the bell_

 **QUASIMODO**

 _I am A GUY LIKE YOU know who_

 **GARGOYLES**

 _You're the bell ringer!_

 _When she wants oo-la-la_

 _Then she wants you la-la_

 _She will discover why_

 _You're one prince of a guy_

 _Who wouldn't love A GUY LIKE YOU?_

 **QUASIMODO**

 _I've got a lot_

 _The rest have not_

 _So she's gotta love_

 _A GUY LIKE ME_

(Quasimodo and the gargoyles strike a pose, and the Saints are embarrassed and unimpressed by this display. The orchestra ends the song and the audience applauds)

* * *

 **So that was** _ **A GUY LIKE YOU**_ **...with some extra material added. I still maintain that** ** _Der Glöckner's_** **version of this song is superior because of the changes made.**

 **Now for my analysis on the reason(s) why I think the gargoyles are the not most loved of Disney sidekicks.**

 **In a typical Disney film (a term I use very loosely because every Disney film is different) the story is usually composed of a hero, a villain, sidekicks, and henchmen. We identify with hero, hate the villain and henchmen, and typically laugh along with the sidekicks (especially the cute ones), who are there to help the hero on their journey and be our eyes to the adventure and conflict. What typically happens is a suspenseful but safe, happy story of good triumphing over evil, that typically involves some kind of romantic or fantasy element. "Happily-ever-after" is a guaranteed bet for everybody (except for the villain).**

 _ **Hunchback**_ **is** _ **not**_ **a "typical" Disney film.** _ **Hunchback**_ **took those "typical" elements, I mentioned before, and gave it a new energy. It was not about romantic fantasies, it was about human drama. It's themes of good vs. evil were more interesting because it looked at it from complex angles, rather than simplistic ones. Its story was not about a prince and princess finding true love, it was about outcasts finding a place in life. It was suspenseful, and "happily-ever-after" did not feel guaranteed, but it sure felt great when we got it.**

 **From the first choir note onwards, we were wrapped up in the human drama of** _ **The Hunchback of Notre Dame.**_ **For once in an animated Disney film, we cared so much about the main characters and what happened to them rather than the cute sidekicks, the gargoyles, who now felt more like unwanted distractions, rather than additions to this drama. I do not dislike the gargoyles as much as some other people do (I've actually grown to appreciate them more as I have gotten older) but I would prefer it if Clopin and the Archdeacon had more screen time than the gargoyles did.**

 **Speaking of sidekicks; Phoebus' horse Achilles and Esmeralda's goat Djali are not in here or in any of the stage adaptation, because in Broadway (and other similar stage show venues). Animals are impossible to handle, so they are just cut out entirely.**


	14. Act II: OUT OF LOVE

**Here we have another good song exclusive to** **_Der Glöckner von Notre Dame; OUT OF LOVE_** **. This was another great song that didn't make it way to English adaptations.**

 **It's another good song that never quite made it's way into English adaptations, but thanks to good English translations of** ** _Der Glöckner_** **,** **and the story you are reading right now, you can enjoy this song like never before. It would be better if I had the ability to make a video of it instead, so you're going to have to use your imagination a bit on this one. You can also find this song on YouTube if you look patiently enough.**

 **It is a musical version of the scene in the film where Phoebus convinces Quasimodo to leave the bell tower again to find and save Esmeralda. In** ** _Der Glöckner_** **, The Archdeacon is the one to bring the injured Phoebus to the Bell Tower, rather than Esmeralda in the film. I combined the two, had the Archdeacon and Saints take the parts where the gargoyles participate, and abbreviated the build-up to this scene.**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT II** ** _OUT OF LOVE_**

* * *

As a new scene is about to begin, The Saints and Gargoyles retreat to the background, while Quasimodo remains in the foreground. The Archdeacon returns to continue the narration. Esmeralda, Phoebus, and Frollo return in the background, silently performing the actions to the narration.

 **ARCHDEACON**

As the flames grew higher, Esmeralda and I brought Phoebus to the Bell Tower were he would be safe from harm. She also gave Quasimodo a special map in the form of a woven band. She left him with a riddle about the map; "When you wear this woven band, you hold the city in your hand." Despite being forbidden from being near the gypsy girl, he would do anything for her _OUT OF LOVE._ Frollo arrived later that day, to tell Quasimodo that he find the gypsies' secret hideaway, the Court of Miracles, and planned to attack at dawn. Though he still feared Frollo, Quasimodo would do anything to save Esmeralda from harm.

 **PHOEBUS**

We have to find the Court of Miracles, before daybreak. We have to warn the others. Are you coming with me?

 **QUASIMODO**

I can't.

 **PHOEBUS**

I thought you were Esmeralda's friend.

 **QUASIMODO**

Frollo's my master. I can't disobey him again.

 **PHOEBUS**

She stood up for you. You've got a funny way of showing gratitude. Do you know where she is?

 **QUASIMODO**

No, but she said that this would help us find her.

(Quasimodo hands Phoebus the woven band)

 **PHOEBUS**

Good, good, good! Ah...Great! What is it?

 **QUASIMODO**

"When you wear this woven band, you hold the city in your hand."

 **PHOEBUS**

What?

 **QUASIMODO**

It's the city!

 **PHOEBUS**

What are you talking about?

 **QUASIMODO**

It's a map! See, here's the cathedral, and the river, and this little stone here is the cemetery!

(The Projection screen behind them projects a detailed view of the woven band. The large Cross in the center present the Cathedral, the blue band surround represents the river Seine, and a small stone on the right represents the cemetery. This projection turns off shortly after this scene.)

 **PHOEBUS**

I've never seen a map that looks like this and...

(Quasimodo grabs Phoebus' good arm and hangs him over the edge of the stage, as though over the edge of the Bell Tower, trying to make him see his point of view. Phoebus pleads for mercy...)

 **QUASIMODO**

See? The city from above!

 **PHOEBUS**

All right, All right! It's a map, I get it now!

 **ARCHDEACON**

Put him down Quasimodo!

(He obeys, and throws Phoebus safely off to the side of the stage. Phoebus winces in more pain.)

 **PHOEBUS**

Great, now I can't use either arm. Look, if we are going to find Esmeralda we have to work together.

(Quasimodo is still hesitant, so Phoebus and the Archdeacon try to encourage him. The orchestra begins the song which initially starts off to the tune of _REST & RECREATION_, but continues into a new song.)

 **PHOEBUS**

 _Look, I don't pretend to be your dearest friend_

 _And I don't like asking anyone for a favor_

 _But Esmeralda's in a trap_

 _And only you can read her map_

 _Don't you think you owe it to her, to save her?_

 **ARCHDEACON**

 _Scared or not_

 _You have got_

 _To try and save her_

(The song has now become a romantic tune)

 **PHOEBUS**

 _Life is full of spikes and thorns_

 _Full of things that wound and chafe_

 _So we start the second we're born_

 _Learning how to play it safe_

 **ARCHDEACON**

 _Then one day comes a choice that's clear_

 _Comes a choice you're frightened of_

 _And you pass it by out of fear_

 **PHOEBUS**

 _Or you do it OUT OF LOVE_

 **SAINTS**

 _Or you do it OUT OF LOVE_

 **PHOEBUS**

 _I don't say that someone like you_

 _Doesn't have good cause to hide_

 **GARGOYLES**

 _Good cause to hide_

 **PHOEBUS**

 _So much pain so plainly in view_

 _Plainly so much more inside_

 **SAINTS**

 _Much more inside_

 **PHOEBUS**

 _Huddled by these waterspouts_

 **GARGOYLES**

Waterspouts?!

(The Gargoyles are offended and leave stage left, staying out of the rest of the song)

 **PHOEBUS**

 _Watching life from far above_

 _Why should you risk venturing out?_

 _You go out there OUT OF LOVE_

 **SAINTS**

 _You go out there OUT OF LOVE_

 **ARCHDEACON**

You must go Quasimodo, and save her.

(Quasimodo hesitates and thinks for only one more minute)

 **QUASIMODO**

I will go. I will save her.

(The Archdeacon smiles in approval, and blesses Quasimodo and Phoebus making the Sign of The Cross on them both. Quasimodo speaks to Phoebus.)

 **QUASIMODO**

This way...

(Quasimodo, Phoebus, leave stage right. The Archdeacon, and the Saints, leave stage left. The Bell Tower set transforms into the dark streets of Paris. Quasimodo and Phoebus return stage right and they both take center stage)

 **PHOEBUS**

You like Esmeralda, don't you? After all, she's very beautiful.

 **QUASIMODO**

...and kind...

 **PHOEBUS**

She's kind, and brave.

 **QUASIMODO**

...and smart...

 **PHOEBUS**

And smart.

 **QUASIMODO**

...and loyal...

 **PHOEBUS**

...and beautiful.

 **QUASIMODO**

...Beautiful.

 **PHOEBUS**

I like her too. And I believe she likes me.

 **QUASIMODO**

You're handsome.

 **PHOEBUS**

And kind, and brave?

 **QUASIMODO**

Handsome.

 **PHOEBUS**

Is that the only reason she likes me?

 **QUASIMODO**

Yes.

 **PHOEBUS**

Well, I happen to know she likes you too.

 **QUASIMODO**

She likes me?

 **PHOEBUS**

She said you were kind.

 **QUASIMODO**

She said me?

 **PHOEBUS**

Said you could be trusted.

 **QUASIMODO**

She likes me!

 **PHOEBUS**

Quickly, we'd better go now.

 _Esmeralda, now you'll see_

 **QUASIMODO**

 _Esmeralda..._

 **PHOEBUS**

 _How devoted I can seem_

 **QUASIMODO**

 _The chance is slim_

 **PHOEBUS**

 _To save you I'm willing to be_

 **QUASIMODO**

 _But to save you_

 **PHOEBUS**

 _Part of this peculiar team_

 **QUASIMODO**

 _I'm helping him_

 **PHOEBUS**

 _Will we fail? It's nip-and-tuck_

 _But when push has come to shove_

 **QUASIMODO**

 _But all I'm certain of_

 **PHOEBUS**

 _I believe you're out of luck_

 _Only when you're OUT OF LOVE_

 **QUASIMODO**

 _I must do it OUT OF LOVE_

 **PHOEBUS**

 _What I do is..._

 **PHOEBUS and QUASIMODO**

 _OUT OF LOVE_

(The orchestra finishes the romantic tune, and thus the song. The audience applauds.)

* * *

 **I certainly love this song and I wish it made it's way to the English adaptations of the show. It certainly improves upon already great scenes in the film, turning spoken dialogue into song.**


	15. Act II: IN A PLACE OF MIRACLES

**As we get closer to the finale, we arrive at two songs about the Court of Miracles.**

 ** _THE COURT OF MIRACLES_** **is the same song in the film when Quasimodo and Phoebus receive a not so warm welcome when they find the Court of Miracles. This song also appears in the American/English stage version of** ** _Hunchback_** **, with a few altered lyrics. Both versions are used here.**

 ** _IN A PLACE OF MIRACLES_** **is actually a deleted song from the film but was restored for the American/English stage version of** ** _Hunchback_** **. It was cut from the film because it slowed down the story too much, and was more desirable to get the finale as quickly as possible.**

 **These two songs have been combined into one chapter, because I too, want to get to the finale, as quick as possible.**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT II** ** _IN A PLACE OF MIRACLES_**

* * *

Continuing from the previous scene, Phoebus and Quasimodo wander through the dark streets of Paris, while Clopin appears stage left to resume the narration.

 **CLOPIN**

And so Quasimodo and Phoebus made their way through the darkened streets for Paris, following Esmeralda's map to find her and the Court of Miracles. Making their way to the old catacombs under the city via a secret passage way in the cemetery, they sought to find the Court of Miracles...

(The projection screen in the back makes the stage become the old catacombs of Paris. Several mysterious black robed and hooded figures appear behind Quasimodo and Phoebus)

 **CLOPIN**

...only for the Court of Miracles to find them.

(The mysterious figures quickly shed their black hood and robes, and reveal themselves to gypsies. They tackle and subdue Quasimodo and Phoebus. Clopin joins them, since he is part of this scene)

 **CLOPIN**

Well, well, well. What have we here?

 **GYPSIES**

Trespassers! Spies!

 **PHOEBUS**

We're not spies!

 **QUASIMODO**

You've got to listen-

(Phoebus and Quasimodo are both gagged by the gypsies)

 **CLOPIN**

Don't interrupt me!

You're very clever to have found our hideaway. Unfortunately, you won't live to tell the tale.

(The orchestra begins a jovial but suspenseful tune to the song _THE COURT OF MIRACLES_.)

 **CLOPIN**

 _Maybe you've heard of a terrible place,_

 _Where the scoundrels of Paris collect in a lair_

 _Maybe you've heard of that mythical place,_

 _Called THE COURT OF MIRACLES_

 **GYPSIES**

 _THE_ _COURT OF MIRACLES_

 **CLOPIN**

Hello, you're there!

 **GYPSIES**

 _Where the lame can walk_

 _And the blind can see_

 **CLOPIN**

 _But the dead don't talk,_

 _So you won't be around to reveal what you've found_

 _We have a method for spies and intruders,_

 _Not terribly different from hornets protecting their hive,_

 _Here in THE COURT OF MIRACLES,_

 **CLOPIN and GYPSIES**

 _Where it's a miracle if you get out alive!_

(Darker and dirtier versions of the banners and streamers that appeared in _TOPSY TURVY_ , descend from the ceiling making the stage become the Court of Miracles. More gypsies, men and women, arrive and gather in the scene. Two hanging nooses drop from the ceiling and are placed on Quasimodo and Phoebus' necks)

 **GYPSIES**

The ugly hunchback! He's bad luck! He's cursed! Hang them both! String them up!

 **CLOPIN**

Gather 'round everybody there's good "noose" tonight! It's a double header! A couple of Frollo's spies!

 **GYPSIES**

*various boos and jeers*

 **CLOPIN**

And not just any spies! His captain of the guard, and his loyal bell-ringing henchman.

 **CLOPIN**

 _Justice is swift in the COURT OF MIRACLES_

 _I am the lawyers and judge all in one_

 _We like to get the trial over with quickly_

 _Because it's the sentence that's really the fun!_

My apologies, gentlemen, for your imminent demise. Any last words?

 **QUASIMODO and PHOEBUS**

*muffled cries of protest*

 **CLOPIN**

That what they all say.

 _It's always sad when a life's at its finish,_

 _I have to admit to a bit of a pang_

 _But we must protect, at all costs, our secret_

 _It's our lives or yours!_

 **CLOPIN and GYPSIES**

 _So you're going to hang!_

(The orchestra finishes the dark, but jovial tune, and Clopin almost hangs them. Esmeralda intervenes, saving them both.)

 **ESMERALDA**

Stop! These men aren't spies they're our friends.

(Esmeralda removes the nooses from their necks and their gags)

 **CLOPIN**

Why didn't they say so?

 **QUASIMODO and PHOEBUS**

We did say so!

 **ESMERALDA**

This is the soldier that saved the miller's family, and Quasimodo helped me escape the cathedral.

 **PHOEBUS**

We came to warn you! Frollo's coming! He says he knows where you're hiding, and he's attacking at dawn with a thousand men!

(All the gypsies are shocked and frightened)

 **ESMERALDA**

Then let's waste no time! We must leave immediately!

(Gypsies begin running everywhere, beginning to pack up. Esmeralda moves close to Phoebus.)

 **ESMERALDA**

You took a terrible risk coming here. It may not exactly show, but we're grateful.

(The orchestra begins a new romantic song _IN A PLACE OF MIRACLES._ Esmeralda and Phoebus and hold hands and look into each others eyes. They stay in this position throughout most of the song. Quasimodo stands off to the side mostly watching them. _)_

 **PHOEBUS**

 _Here we are,_

 _Nearly strangers,_

 _From two worlds that have rarely met,_

 _But somehow,_

 _You have made me someone new_

 _Traveling far,_

 _On a journey,_

 _That's the longest I've taken yet_

 _Now I'm asking,_

 _If you will let me come with you_

 _Though our lives are tattered and torn,_

 _All I'm feeling now is reborn_

 _I must be IN A PLACE OF MIRACLES_

 **ESMERALDA**

 _Where the blind can see_

 **PHOEBUS and ESMERALDA**

 _IN A PLACE OF MIRACLES_

 **PHOEBUS**

 _A Miracle you've brought to me_

 **PHOEBUS and ESMERALDA**

 _The soldier and the gypsy,_

 _Locked in an embrace,_

 _IN A PLACE OF MIRACLES_

(Esmeralda and Phoebus kiss. Since they are French, the kiss lasts for a while. Quasimodo notices the lovers and is now heartbroken. He sings a somber reprise of _HEAVEN'S LIGHT)_

 **QUASIMODO**

 _I knew I'd never know,_

 _That warm and loving glow,_

 _Though I might wish with all my might_

 _No face as hideous as my face,_

 _Was ever meant for HEAVEN'S LIGHT'_

 **ESMERALDA**

 _All this time,_

 _I've been certain,_

 _That my life would be spent alone_

 **QUASIMODO**

 _This time, it's time I learned,_

 _No love will be returned,_

 _To one who's born to be alone…_

 **ESMERALDA**

 _And what's more,_

 _I've pretended not to care_

 **QUASIMODO**

 _Who looks both laughable and frightening_

 **PHOEBUS**

 _But now I'll_

 _Be beside you_

 **QUASIMODO**

 _And now I know there'll be,_

 _No miracles for me_

 **PHOEBUS and ESMERALDA**

 _No more need for a heart of stone_

 **QUASIMODO**

 _Better to have a heart of stone,_

 **PHOEBUS and ESMERALDA**

 _Though we set out for lands unknown,_

 _They're lands we'll share_

 **QUASIMODO**

 _That holds no hope in HEAVEN'S LIGHT_

(Clopin and the Gypsies join in the song. Esmeralda and Phoebus face the audience now.)

 **GYPSIES**

 _Will we reach a friendlier shore?_

 _Will we find a haven once more,_

 _Where we'll be IN A PLACE OF MIRACLES?_

 _Now we leave our home,_

 _For a A PLACE OF MIRACLES_

 **CLOPIN**

 _Romanies again must roam_

 _Could there be a country, kinder to our race?_

 **GYPSIES**

 _IN A PLACE OF MIRACLES_

 **QUASIMODO**

 _Where's my PLACE OF MIRACLES?_

 **PHOEBUS and ESMERALDA**

 _IN A PLACE_

 **PHOEBUS, ESMERALDA, CLOPIN, and GYPSIES**

 _OF MIRACLES_

(The orchestra finishes this romantic and rousing tune and the audience applauds. Clopin steps forward to finish the narration this scene. Frollo and his soldiers appear and perform their action silently while Clopin narrates)

 **CLOPIN**

However, this happy moments was to last. At that very moment, the Court of Miracles had been stormed by Frollo and his soldiers. Frollo had cunningly deceived into Quasimodo into leading them straight to Esmeralda and the gypsies. Now they were all Frollo's prisoners, and Esmeralda was about to face execution for her "crimes". Quasimodo was heartbroken beyond reason and so was taken back to Bell Tower as a prisoner now.

(The banners and streamers retreat back into the ceiling of the stage, the other characters are taken away, and the soldiers lead Quasimodo through the Cathedral door and chain him up between the two towers. He is too crushed to resist anything happening to him)

* * *

 **Great songs, both of them; But were getting closer to the Finale, so let's move!**


	16. Act II: MADE OF STONE

**Now comes a really heart breaking song where Quasimodo loses heart and faith and wishes that he were made of stone so that he would stop feeling.**

 **This song is exclusive to both stage adaptations.**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT II** ** _MADE OF STONE_**

* * *

Continuing from the previous scene, Quasimodo is now chained up between the towers in the model of Notre Dame. Clopin remains to continue the narration.

 **CHOIR**

 _KYRIE ELEISON_

 **CLOPIN**

 _While the city slumbered Quasimodo sat awake_

 _As the night crept pitilessly onward_

 _Not one word he uttered_

 _Not one movement did he make_

 _Awaiting the inexorable dawn_

 **CHOIR**

 _KYRIE ELEISON_

(Clopin leaves the stage quickly as the Saints and Gargoyles appear below)

 **SAINTS**

Quasimodo, you must try to free yourself!

 **GARGOYLES**

The girl needs your help!

 **QUASIMODO**

I'm not going out. Bad things happen when I leave. Always bad!

 **SAINT LEONIDAS**

Nonsense. That's not my son talking.

 **QUASIMODO**

Quiet! Go away!

 **SAINTS**

You're the only one who can save her now!

 **QUASIMODO**

You know what happens when I try to help! I only make things worse!

 **GARGOYLES**

You don't believe that!

 **QUASIMODO**

 _How do you know what I believe?_

 _What do you know of me?_

 _What do you know of all the things I feel?_

 _You're only MADE OF STONE_

 _Who is that you see_

 _Instead of seeing what I am for real -_

 _This twisted flesh and bone?_

 **VICTOR**

But, Quasimodo, it wasn't your fault!

 **QUASIMODO**

 _You're a liar!_

 _With every new excuse you try out_

 _You only make me want to cry out_

 _"Would that I were MADE OF STONE like you"_

 **HUGO**

You don't mean that!

 **QUASIMODO**

 _You give such good advice_

 _So why has not a single word you've said_

 _Been any help at all?_

 **GARGOYLES**

Quasimodo!

 **QUASIMODO**

 _And you who sound so nice,_

 _The more your hopes and fancies fill my head_

 _The farther that I fall_

 _Shut my brain down!_

 _If I were senseless, I'd prefer it_

 _Another gargoyle on this turret_

 _Spitting rain down_

 _To the stones below_

 _Oh..._

(The Gargoyles are shocked and offended)

 _I've wasted my faith_

 _Believing in saints of plaster_

(The Saints are shocked and offended)

 _But the only one worth believing in was my master_

 _He's the one who never lied_

 _He told me it was cruel outside_

 _He told me how I had to hide_

 _His words were cold as stone_

 _But they were true_

 _Not like you..._

 _Take all the dreams you've sown_

 _Take all your lies_

 _And leave me alone!_

(The Saints and Gargoyles have had enough of this)

 **VICTOR**

 _All right, Quasimodo_

 _We'll leave you alone_

 **MARIE**

 _All right, Quasimodo_

 _We'll trouble you no longer_

 **HUGO**

 _You're right, Quasimodo_

 _We're only_ _MADE OF STONE_

 **SAINTS**

 _But we know God made you out of something stronger_

(The Saints leave stage right and the Gargoyles leave stage left. Quasimodo is now all alone.)

 **QUASIMODO**

 _And now I'm on my own_

 _Never again to wonder what's OUT THERE_

 _Let it remain unknown_

 _And my one human eye_

 _Will evermore be dry_

 _Until the day I die_

 _As if I_

 _Were MADE OF STONE!_

(Quasimodo kneels in defeat and will remain that way until the finale. The orchestra reprises _THE BELLS OF NOTRE DAME_ as the song concludes. The audience applauds.)

* * *

 **CHOIR TRANSLATION**

 ** _Kryie Eleison (Lord Have Mercy)_**

 **This really is a powerful and heart breaking song where Quasimodo loses heart and faith and wishes that he were made of stone so that he would stop feeling.**

 **It's also a wonderful musical extension of the scene in the film's finale where the Gargoyles tries to get Quasimodo's courage back again to save Esmeralda, but he tells them to go away, in defeat.**

 **It's powerful, heart breaking, and for some reason it's one of the musical's most popular songs...**


	17. Act II: SOMEDAY

**_SOMEDAY_** **is definitely one of the best additions made to the stage musical versions of** ** _Hunchback_** **.**

 **This song was originally written in place of** ** _GOD HELP THE OUTCASTS,_** **but was cut from that sequence because** ** _SOMEDAY_** **sounded much too loud and pompous, compared the quieter and more humble** ** _GOD HELP THE OUTCASTS_** **.**

 **Unlike many deleted songs in Disney films,** ** _SOMEDAY_** **can be heard over the end credits sung by a popular singer/group in every foreign dub of the film. Here in the USA, it is the musical group All-4-One who sings this song.**

 **The way the stage adaptations place this song towards the finale, makes** ** _SOMEDAY_** **become the** _ **Do You Hear The People Sing?**_ **of** _ **Hunchback.**_

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT II** _ **SOMEDAY**_

* * *

The stage has gone dark save for one lone spotlight where Clopin continues the narration to the tune of _THE BELLS OF NOTRE DAME_...

 **CLOPIN**

 _Justice in Paris, was often displayed, in the square at NOTRE DAME_

 _Now as the wood, for a pyre was laid, in the square at NOTRE DAME_

 _There came some there who sought entertainment,_

 _And some who wished all gypsies harm_

 _For the rumor was growing, a gypsy was going to burn,_

 _At dawn at NOTRE DAME_

(The stage goes dark again. In two lone spotlights, Esmeralda and Phoebus are alone together in chains. Esmeralda has been stripped of her colorful dress and now wears only a simple dirty white dress which she will wear at her execution at dawn. The orchestra begins the hopeful and rousing anthem of _SOMEDAY_ )

 **ESMERALDA**

 _I used to believe_

 _In the days I was naive_

 _That I'd live to see_

 _A Day of Justice dawn_

 _And though I will die_

 _Long before that morning comes_

 _I'll die while believing still_

 _It will come when I am gone_

 _SOMEDAY_

 _When we are wiser_

 _When the world's older_

 _When we have learned_

 _I pray_

 _SOMEDAY we may yet live_

 _To live and let live_

 **ESMERALDA**

 _SOMEDAY_

 **PHOEBUS**

 _SOMEDAY_

 **ESMERALDA**

 _Life will be fairer_

 **PHOEBUS**

 _Life will be fairer_

 **PHOEBUS**

 _Need will be rarer_

 **ESMERALDA**

 _Need will be rarer_

 _Greed will not pay_

 **ESMERALDA and PHOEBUS**

 _Godspeed_

 _This bright millennium_

 _On its way_

 _Let it come SOMEDAY_

(More lights shine, revealing all the other gypsies, bound in chains. They join in the chorus...)

 **GYPSIES**

 _SOMEDAY_

 _When we are wiser_

 _When the world's older_

 _When we have learned_

 _I pray_

 _SOMEDAY we may yet live_

 _To live and let live_

(The soldiers now, wordlessly, build Esmeralda's pyre in front of the cathedral)

 **ESMERALDA**

 _There are some days_

 _Black and bitter_

 _It seems we haven't got a prayer_

 **PHOEBUS**

 _But a prayer for something better_

 **PHOEBUS and ESMERALDA**

 _Is the one thing we all share_

 **GYPSIES**

 _We all share_

(Esmeralda is now being taken, and tied to the stake by the Soldiers)

 **ALL**

 _We all share..._

 _SOMEDAY_

 _Our fight will be won then_

 _We'll stand in the sun then_

 _That bright afternoon_

 _Till then_

 _On days when the sun is gone_

 _Hope lives on_

 _Wish upon the moon_

 _Change will come_

 **GYPSIES**

 _One day..._

 **PHOEBUS**

 _One day..._

 **ESMERALDA**

 _SOMEDAY_...

 **PHOEBUS and ESMERALDA**

 _Soon_

(The song ends with Esmeralda tied to a stake awaiting her execution in the finale. The audience applauds)

* * *

 **Honestly I think the song fits better here than where it is an anthem of hope for a better tomorrow before Esmeralda's execution, rather than in the Cathedral where she prays for the salvation of outcasts.**

 **And now...The Finale...**


	18. Act II: FINALE ULTIMO

**THIS IS IT!**

 **THE FINALE!**

 **What follows are elements from all three adaptations plus some new material I created!**

 **Song lyrics are in _italics_ while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.**

 **All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.**

* * *

 **ACT II** _ **FINALE ULTIMO**_

* * *

As in the last song, the stage has become Esmeralda's pyre where she will be burned to the stake. Quasimodo is chained up between the towers of Notre Dame, Phoebus and the gypsies are in chains as prisoners, and the citizens of Paris gather in the square below, and are all witnesses to the execution. The Archdeacon (stage right) and Clopin (stage left) return to be the narrators for the Finale. The projection screen is a dark night sky that is slowly turning to dawn. Frollo marches up to Esmeralda and circles around her before reading her charges. The Choir and Orchestra begins the exciting, suspenseful, and powerful Finale...

 **CHOIR**

 _JUDEX CREDERIS_

 _ESSE VENTURUS_

 _IN TE DOMINE SPERAVI_

 _NON CONFUNDAR_

 _IN AETERNUM_

 _SALVUM FAC POPULUM TUUM_

 _JUDEX CREDERIS_

(Frollo stops and reads from the scroll)

 **FROLLO**

The prisoner Esmeralda has been found guilty of entering the city of Paris illegally, guilty of public insubordination, and guilty of the crime of witchcraft. The sentence is death!

(The Archdeacon protests...)

 **ARCHDEACON**

Let her go, Frollo! You know she has done nothing to deserve this.

 **FROLLO**

On the contrary, Father. But I will give her this opportunity to recant in order to save herself.

 **ARCHDEACON**

Good. Speak, young woman. Tell him you mean no harm. Apologize for whatever it is you're accused of.

 **ESMERALDA**

How can I apologize for something I haven't done? Who is next? Everyone can be no more guilty, than I. One doesn't have to be a gypsy. Apologizing now would mean I was wrong. I won't. I have no regrets. I have only done what was right. That's all I can hope for.

(Frollo directs his attention to Esmeralda.)

 **FROLLO**

The time has come, gypsy. You stand upon the brink of the abyss. Yet even now, it is not too late. I can save you from the flames of this world, and the next. Choose me, or the fire.

(Esmeralda offers the only response Frollo deserves; _she spits in his face._ Frollo is not pleased and so pronounces her sentence)

 **FROLLO**

For justice... for Paris... and for her own salvation, it is my sacred duty to send this unholy demon back to hell.

 **CHOIR**

 _KYRIE ELESION_

(He takes a torch and lights the pyre. Esmeralda starts coughing from the smoke. Quasimodo awakens from his stone slumber, and finally reacts to what is happening around him. He cries out in sorrow...)

 **QUASIMODO**

Esmeralda!

 **CHOIR**

 _KYRIE ELESION_

 **CLOPIN**

And at that moment, Quasimodo realized he could remain stone no longer!

 **QUASIMODO**

N-O-O-O-O-O!

 **CHOIR**

 _LIBERA ME DOMINE_

 **ARCHDEACON**

With the strength of Notre Dame herself, he broke free of his chains and came to the rescue of Esmeralda!

(Quasimodo breaks free from his chains while the choir continues...)

 **CHOIR**

 _LIBERA ME DOMINE DE MORTE AETERNA_

 _IN DIE ILLA TREMENDA_

 _QUANDO CAELI MOVENDI SUNT_

(Quasimodo disappears into the Bell Tower, and reappears running out the doors of Notre Dame to Esmeralda's rescue)

 **CHOIR**

 _CAELI ET TERRA_

 _DUM VERNERIS JUDICARE_

 _SAECULUM PER IGNEM_

 _O, SALUTARIS HOSTAI_

(Quasimodo rips off the ropes of the pyre, freeing the unconscious Esmeralda. Several Soldiers try to attack Quasimodo, but he just shoves them off because he is much stronger than them. More soldiers try to attack, so Quasimodo picks up the pyre and throws it at them, knocking them all out instantly. Quasimodo picks Esmeralda up bridal-style and runs back into the Cathedral, locking the doors behind him, as Frollo tries to pry them open himself.)

 **CHOIR**

 _QUAE CALI PANDIS OSTIUM_

 _BELLA PREMUNT HOSTILIA_

 _DA ROBUR, FER AUXILIUM_

(Phoebus manages to free himself, and takes another soldier's sword and starts freeing the prisoners, who also steal weapons from the soldiers. Phoebus, the gypsies, and the citizens of Paris start fighting off the soldiers)

 **CHOIR**

 _SIT SEMPERTERNA GLORIA_

 _SIT SEMPERTERNA GLORIA_

 _SIT SEMPERTERNA GLORIA_

 _GLORIA_

 _GLORIA_

 _SEMPER_

 _SANCTUS_

(Quasimodo reemerges between the towers of Notre Dame, carrying Esmeralda's unconscious body in his arms, bridal style. The projection screen behind them turns into a close up of the central rose window of Notre Dame. Everyone below stops what they are doing and stares up in awe. Quasimodo stands tall, lifts her body over his head and cries out in a loud voice for...)

 **QUASIMODO**

 _SANCTUARY!_

 **CHOIR**

 _SANCTUS_

 **QUASIMODO**

 _SANCTUARY!_

 **CHOIR**

 _SANCTUS_

 **QUASIMODO**

 _SANCTUARY!_

 **CHOIR**

 _IN EXCELSIS_

(The projection screen returns to normal night-turning to dawn sky. Quasimodo and Esmeralda disappear into the Cathedral Bell Tower; Frollo grabs a sword from a fallen soldier, and gives orders to his remaining soldiers to attack the Cathedral.)

 **FROLLO**

Captain! Seize the Cathedral.

 **SOLDIER**

But sir, the laws of Sanctuary-

 **FROLLO**

I negate the laws of Sanctuary! Open those doors!

(The soldiers pick up the funeral pyre and use at as a battering ram, and proceed to ram the Cathedral doors repeatedly)

 **CHOIR**

 _MORS STUPIBET ET NATURA_

 _CUM RESURGET CREATURA_

 _JUDICANTI RESPONSURRA_

 _AHHHHH_

 _JUDEX ERGOCUM SEDEBIT_

 _NUL INULTUM REMANEBIT_

(Phoebus, sword in hand, stands above the crowd and gives a rousing and inspirational speech to the tune of _SOMEDAY_ , while the choir continues...)

 **PHOEBUS**

 _Hear me, People of Paris_

 **CHOIR**

 _OLIM DEUS ACCELERE_

 **PHOEBUS**

 _How much oppression_

 _Will you allow?_

 **CHOIR**

 _HOC SAECULUM SPLENDIUM_

 **PHOEBUS**

 _SOMEDAY_

 _Your patience will finally break_

 **CHOIR**

 _ACCELERE FIAT VENIRE OLIM_

 **PHOEBUS**

 _Why not make_

 _SOMEDAY_

 _Today now!_

 **CHOIR**

 _KYRIE ELESION_

(Quasimodo emerges from the bell tower and defends Note Dame by throwing down stones, and pushing off soldiers on ladders that are trying to storm the Cathedral. The Saints and Gargoyles appear next to him and do the same. His part in the song is a reprise of _MADE OF STONE_ )

 **QUASIMODO**

 _Come all you, Saints of stone_

 _All you guardians and gargoyles_

 _Hurl down stones into the night_

 _Throw the ladders down and light these vats of lead_

 _Steaming, boiling streams of lead_

 _Burning lead, and let the flames grow higher_

(A giant cauldron descends from the stage ceiling, with a large rope attached to it. Quasimodo grabs the rope and prepares to pull it.)

 **CHOIR**

 _JUSTE JUDEX_

 **QUASIMODO**

 _O Saints and Monsters, show your power_

 **CHOIR**

 _ULTIONIS_

 **QUASIMODO**

 _Help me to send this raging shower_

 **CHOIR**

 _ANTE DIEM_

 **QUASIMODO**

 _Raining fire_

 **CHOIR**

 _RATIONIS_

 **QUASIMODO**

 _On the stones_

 **CHOIR**

 _KYRIE ELESION_

 **QUASIMODO**

 _Below_

 **CHOIR**

 _KYRIE ELESION_

(Quasimodo pulls the rope and "molten lead" is poured down from the towers of Notre Dame, as though the Cathedral was raining down fire on the square below. The fiery lead poured down is done by combination of light and smoke, giving it a special dramatic effect. The central rose window of Notre Dame lights up in bright red/orange, and the choir and orchestra perform a vocalization and instrumental of _THE BELLS OF NOTRE DAME_ for extra dramatic effect. Everyone runs stage left and right to escape from the raging fire raining down on them. The stage goes dark except for two lone spotlights featuring Frollo and the Archdeacon. Frollo made it through the doors before the shower of fire. The Archdeacon attempts to stop him...)

 **ARCHDEACON**

Frollo, what are you doing? Have you gone mad? I will not tolerate this assault on the house of God!

(Frollo grabs the Archdeacon's collar and throws him across the floor.)

 **FROLLO**

Silence, you old fool! The hunchback and I have unfinished business to attend to. And this time, you will not interfere.

(He disappears stage right and the lights go dark again. Two more spotlights appear again, one on Quasimodo, the other on the Saints and Gargoyles who are comforting the lifeless body of Esmeralda. The orchestra begins a sadder tune...)

 **QUASIMODO**

We've done it, Esmeralda! We've beaten them back!

(She lies still, not showing any signs of life)

 **QUASIMODO**

Esmeralda... Esmeralda...Wake up! You're safe now.

Esmeralda... wake up... wake up...

(She lays there still. Quasimodo realizes he is too late, and so her weeps and mourns over her. The Saints and Gargoyles comfort him...)

 **VICTOR**

 _The world is cruel_

 **MARIE**

 _The world is wicked_

 **HUGO**

 _But there are times and there are people_

 **SAINTS**

 _When the world is not_

 **GARGOYLES**

 _And at its cruelest_

 **SAINTS and GARGOYLES**

 _It is still the only world we've got_

 **SAINTS**

 _Light and dark..._

 **GARGOYLES**

 _Foul and fair..._

(Frollo appears stage left, but Quasimodo pays him no mind. He is too focused on mourning for Esmeralda to care anymore.)

 **FROLLO**

Is she dead?

 **QUASIMODO**

Because of you.

 **FROLLO**

It was my duty, you know.

 **QUASIMODO**

Duty?

 **FROLLO**

Horrible as it was; having to impose the law. It gave me no pleasure. You know that, Quasimodo. You know me better than anyone, don't you?

 _At last we're free of Esmeralda_

 _Now that she's gone, her poison dies with her_

 _Now that we're free of Esmeralda_

 _We can go on, as close as once we were_

 _Here in our SANCTUARY_

 _SANCTUARY..._

 **QUASIMODO**

No. No sanctuary, without her.

(Frollo gently pats Quasimodo's back)

 **FROLLO**

There there, Quasimodo. I know it hurts. But now the time has come to end your suffering...forever.

(Frollo takes his left hand behind his back, revealing he had a dagger the whole time, and is about to stab Quasimodo in the back. The Saints warn him quickly, before it can be done. The choir and orchestra resume their gripping and suspenseful tune...)

 **CHOIR**

 _DIES IRAE_

 **SAINT LEONIDAS**

Quasimodo!

 **CHOIR**

 _DIES ILLA_

 **SAINT CHARLES**

Turn around!

 **CHOIR**

 _SOLVET SAECLUM IN FAVILLA_

 **SAINT ANTHONY**

Quickly!

 **CHOIR**

 _TESTE DAVID CUM SIBYLLA_

(Quasimodo stops Frollo from killing him and the two are engaged in a power struggle, wrestling each other, wanting the other to yield. The Saints continue...)

 **SAINT LEONIDAS**

 _"The wicked shall not go unpunish-ed"_

 **SAINT CHARLES**

 _"The heart of the wicked is of little worth"_

 **SAINT ANTHONY**

 _"The wicked shall not go unpunish-ed"_

 **CHOIR**

 _QUANTUS TREMOR EST FUTURUS_

 _QUANDO JUDEX EST VENTURUS_

(Quasimodo manages to knock Frollo off his feet. Quasimodo is enraged and so he takes the dagger and approaches Frollo...)

 **FROLLO**

You don't want to hurt me!

 **GARGOYLES**

Yes, you do.

(Quasimodo raises the dagger and prepares to kill Frollo. Frollo pleads for mercy...)

 **FROLLO**

Now, Now. listen to me, Quasimodo...

 **QUASIMODO**

No! You listen! All my life you told me that the world is a dark, cruel place. But now I see that the only thing dark and cruel about it is people like you!

(Quasimodo throws the dagger away when he hears coughs and soft moans behind him. Esmeralda stirs from the bench, alive. Quasimodo rushes to her side, happy.)

 **ESMERALDA**

Quasimodo?

 **QUASIMODO**

Esmeralda!

 **FROLLO**

She lives?

(He pulls a sword from his cloak and rises to kill them both.)

 **QUASIMODO**

No! Sanctuary!

(Quasimodo picks up Esmeralda bridal style again, and runs stage right to escape. Frollo follows in pursuit. The stage goes dark and stays that way for moment until the stage, hosted on several large hydraulically controlled boxes, rises and a screen is projected onto them turning them into the balcony and cloisters of Notre Dame. New spotlights shines on Frollo, Quasimodo, and Esmeralda. Frollo with his sword in hand, makes several attempts to kill Quasimodo and Esmeralda. The Saints and Gargoyles stand in the background neutral to what is happening in the foreground)

 **CHOIR**

 _DIES IRAE_

 _DIES ILLA_

 _SOLVET SAECLUM IN FAVILLA_

 _QUANDO JUDEX EST VENTURUS_

(Quasimodo shoves Esmeralda off to the side to safety, and once again engages in a power struggle against Frollo, while the choir continues...)

 **CHOIR**

 _CONFUTATIS MALEDICTIS_

 _FLAMMIS ACRIBUS ADDICTIS_

 _VOCA ME CUM BENEDICTIS_

 _CONFUTATIS MALEDICTIS_

 _GERE CURAM MEI FINIS_

(Frollo overpowers Quasimodo, and knocks him off his feet. Frollo raises his sword and prepares to kill Quasimodo and Esmeralda. They both look away knowing what is coming next. Frollo arrogantly proclaims his final words...)

 **FROLLO**

And HE shall smite the wicked, and plunge them into the fiery pit!

(The Saints intervene by rushing over to Frollo, holding backing his arms and prying the sword away from his hands, preventing him from killing Quasimodo and Esmeralda. Frollo tries to resist their strength, but it is futile. The Saints are stronger than him. The Gargoyles take Frollo and throw him over the edge of the balcony where he falls into an open trap door in the stage floor. Frollo falls into the pit beneath him, screaming in agony as he is engulfed in fire when he disappears from sight. The Choir ends on a high note as the Saints and Gargoyles look directly at the audience and proclaim the final sentence...)

 **SAINTS and GARGOYLES**

And so HE did.

 **CHOIR**

 _KYRIE ELESION_

(The Saints and Gargoyles return to their places, the hydraulically controlled boxes lower down half way showing only the balcony of Notre Dame. Quasimodo and Esmeralda stand up, safe and free from Frollo at last. The orchestra begins a reprise of _TOP OF THE WORLD_ as Esmeralda looks into Quasimodo's eyes, big smiles on both their faces.)

 **ESMERALDA**

 _Safe again at the TOP OF THE WORLD_

 _Two friends enjoying this beautiful morning_

 _In my eyes, you are beautiful too_

 _sharing the TOP OF THE WORLD._

 **QUASIMODO**

Yes!

 **ESMERALDA**

You are a good friend, Quasimodo.

(They both hug joyously and lovingly. Phoebus and the Archdeacon rejoin them both on the balcony, both happy to see them safe. Phoebus hesitates to come near Esmeralda because he doesn't want to hurt Quasimodo's feelings. Quasimodo takes Phoebus' hand and joins it with Esmeralda's hand blessing their love for each other. Esmeralda and Phoebus kiss, while Quasimodo and the Archdeacon smile in approval. Esmeralda and Phoebus sing a reprise of _IN A PLACE OF MIRACLES_ )

 **ESMERALDA and PHOEBUS**

 _Here we are,_

 _Nearly strangers,_

 _From two worlds that have rarely met,_

 _But somehow,_

 _You have made me someone new_

 _Though our lives are tattered and torn,_

 _All I'm feeling now is reborn_

 _I must be IN A PLACE OF MIRACLES_

(The Archdeacon directs his attention to Quasimodo)

 **ARCHDEACON**

 _And remember the truth that once was spoken; To love another person is to see the face of God._

(Quasimodo kneels before the Archdeacon and kisses his hand. The Archdeacon smiles as he makes the Sign of the Cross on Quasimodo blessing him. All four stand together as the hydraulically controlled boxes lower down completely; bringing them down to the streets of Paris. Clopin, the gypsies, and the citizens of Paris, all wait for them. The projection screen in the back has now become dawn. Quasimodo sings a reprise of _OUT THERE_ and simultaneously Esmeralda sings a reprise of _GOD HELP THE OUTCASTS_ as this happens)

 **QUASIMODO**

 _OUT THERE_

 _Strolling by the Seine_

 **ESMERALDA **

_GOD HELPED THE OUTCASTS_

 _Hungry from birth_

 **QUASIMODO**

 _Taste the morning_

 _OUT THERE_

 **ESMERALDA **

_HE showed them the mercy_

 _They don't find on earth_

 **QUASIMODO**

 _Like ordinary men_

 _Who freely walk about there_

 **ESMERALDA **

_GOD helped my people,_

 _We look to You, still._

 **QUASIMODO**

 _Now I can know how it feels to pass a day_

 **ESMERALDA **

_GOD HELPED THE OUTCASTS  
_

 _when nobody will._

 **QUASIMODO**

 _Not above them_

 **ESMERALDA **

_GOD HELPED THE OUTCASTS_

 **QUASIMODO**

 _But part of them_

 **ESMERALDA **

_CHILDREN OF GOD  
_

 **QUASIMODO**

 _OUT THERE_

 **CLOPIN**

Three cheers for Quasimodo!

(Everyone cheers for him, and they all join in a final reprise of _SOMEDAY_ )

 **ALL**

 _SOMEDAY_

 _Our fight will be won then_

 _We'll stand in the sun then_

 _That bright afternoon_

 _Till then_

 _On days when the sun is gone_

 _Hope lives on_

 _Wish upon the moon_

 _Change will come_

 _One day, SOMEDAY soon_

(The entire cast departs stage left and right, while only The Archdeacon and Clopin remain. They take center stage to conclude the narration and the show...)

 **ARCHDEACON**

 _Morning in Paris, a new day is here_

 _Sing THE BELLS OF NOTRE DAME_

(The Archdeacon folds his hands and arms over his chest and bows)

 **CLOPIN**

 _Ending the tale of your poor balladeers_

 _and THE BELLS OF NOTRE DAME_

(Clopin gives a showman's bow)

 **ARCHDEACON**

 _And we wish we could leave you a moral_

 **CLOPIN**

 _Like a trinket you hold in your palm_

 **ARCHDEACON and CLOPIN**

 _So..._

 _Here is a riddle to guess if you can_

 _Sing THE BELLS OF NOTRE DAME_

 _What makes a monster and what makes a man?_

(As the Archdeacon, Clopin, and the Choir continue, the entire cast return on stage to join in the final chorus. Appearing are Esmeralda and Phoebus holing hands, the Saints, the Gargoyles, Frollo, the soldiers, the gypsies, and the citizens of Paris.)

 **Returning CAST and CHOIR**

 _Sing the bells, bells, bells, bells..._

 **ARCHDEACON and CLOPIN**

 _Whatever their pitch_

 _You can feel them bewitch you_

 _The rich and the ritual knells_

 _Of THE BELLS_

 **ALL**

 _ **OF THE BELLS OF NOTRE DAME**_!

The Bells descend from the stage's ceiling again, Quasimodo appears between the towers of Notre Dame, pulls down the rope and starts ringing them enthusiastically as the rest of the cast, choir, and orchestra gives a spirited and powerful vocalization and instrumental reprise of _THE BELLS OF NOTRE DAME_. This act finally concludes _THE HUNCHBACK OF NOTRE DAME In Concert_.

The audience gives a standing ovation and applauds wildly and enthusiastically.

* * *

 **EPILOGUE**

* * *

The cast and choir take their final bows and sing a reprise of _SOMEDAY_. The lights goes completely dark, and then the lights turn on again revealing the empty stage, signaling the complete end of _THE HUNCHBACK OF NOTRE DAME In Concert_.

Everyone in arena, especially you, leaves with an excited buzz over the spectacular show everyone has just experienced.

As you leave the arena to get home, with your used ticket stubs, and purchases of great new merchandise to add your collection; you only think 2 things:

"That show was one of the greatest experiences of my life ever"

...and...

"When can I see it again?"

* * *

 **CHOIR TRANSLATION**

 _ **Judex crederis esse venturus**_ **(Our Judge we believe shall come)**

 _ **In te, Domine, speravi**_ **(In You, Lord, have I trusted)**

 _ **Non confundar in aeternum**_ **(Let me not be damned for eternity)**

 _ **Salvum fac populum tuum**_ **(Save Your people)**

 _ **Judex crederis**_ **(In our Judge we believe)**

 _ **Libera me Domine**_ **(Free me, Lord)**

 _ **Libera me Domine de morte aeterna**_ **(Free me, Lord, from everlasting death)**

 _ **In die illa tremenda**_ **(On that terrible day)**

 _ **Quando caeli movendi sunt**_ **(When the heavens shall be moved)**

 _ **Caeli et terra**_ **(The heavens and earth)**

 _ **Dum veneris judicare**_ **(When Though shall come to judge the world)**

 _ **O, salutaris hostia**_ **(Oh Saviour, saving victim)**

 _ **Quae caeli pandis ostium**_ **(Who opens the gate of heaven)**

 _ **Bella premunt hostilia**_ **(Our enemies besiege us)**

 _ **Da robur, fer auxilium**_ **(Give us strength, bring us aid)**

 _ **Sit sempiterna gloria**_ **(May you always be praised)**

 _ **Sit sempiterna gloria**_ **(May you always be praised)**

 _ **Sit sempiterna gloria**_ **(May you always be praised)**

 _ **Gloria, gloria semper**_ **(Glory, glory forever)**

 _ **Sanctus, sanctus in excelsis**_ **(Holy, holy, in the highest)**

 _ **Mors stupebit et natura**_ **(Death and nature shall be confounded)**

 _ **Cum resurget creatura**_ **(When creation shall rise again)**

 _ **Judicanti responsurra**_ **(To answer for judgment)**

 _ **Judex ergo cum sedebit**_ **(Therefore, when the Judge will take his seat)**

 _ **Nil inultum remanebit**_ **(Nothing shall remain unpunished)**

 _ **Quem patronum rogaturus**_ **(To what protector shall I appeal)**

 _ **Cum vix justus sit securus?**_ **(When scarcely the just man shall be secure?)**

 _ **Juste Judex ultionis**_ **(Righteous Judge of vengeance)**

 _ **Ante diem rationis**_ **(Before the day of reckogning)**

 _ **Kyrie Eleison**_ **(Lord have mercy)**

 ** _Olim, Olim, Deus Accelere_ (Someday, someday, God speed)**

 ** _Hoc saeculum splendium_ (This bright millennium)**

 ** _Accelere fiat venire olim_ (Let it come someday)**

 _ **Dies irae, dies illa**_ **(Day of wrath, that day)**

 _ **Solvet saeclum in favilla**_ **(Shall consume the world in ashes)**

 _ **Quando Judex est venturus**_ **(When the Judge is come)**

 _ **Confutatis maledictis**_ **(When the damned shall be cast down)**

 _ **Flammis acribus addictis**_ **(Into the searing flames)**

 _ **Voca me cum benedictis**_ **(Call me with the blessed)**

 _ **Confutatis maledictis**_ **(When the damned shall be cast down)**

 _ **Gere curam mei finis**_ **(Help me in my final hour)**

 **So that was my tribute this great film's 20th anniversary.**

 **I, like pretty much everyone else, wish that Disney would give** _ **The Hunchback of Notre Dame**_ **the love and attention it deserves like they used to back then. Unfortunately it seems Disney has been completely overrun by Princesses and they seem to have forgotten that they can do more than just that all the time. Don't get me wrong, I love the Disney Princesses, but after a while it becomes way too much.**

 **Now about how I wrote out the Finale...**

 **Both stage adaptations had the story have a tragic ending like the novel does where Esmeralda dies, and Quasimodo throws Frollo off the balcony and implies that Quasimodo died of starvation in a loving embrace alongside Esmeralda. I understand why they went with this ending for the stage adaptations, it certainly gave the ending a much more tragic and bittersweet ending like the novel does; but screw that! I love happy endings! In the Disney film, between the prayers of the heroes for a better life, and the characters constantly put in so much life threatening peril, the film's "happily-ever-after" felt much more like a gift rather than a guarantee. In all three adaptations, I so wanted to see our heroes triumph and succeed, so in the film it felt great when they did, but not so much on stage when they didn't. The happy ending in the film was the fulfillment of everything our heroes wanted and prayed for; the tragic ending on stage felt like they lost everything. Disney** _ **Hunchback**_ **film has the happy ending; Disney's** _ **Hunchback**_ **on stage has the tragic ending. I prefer the happy ending, at all times.**

 **Despite the differences in the endings, at least the stage adaptations knew how awesome the final battle was in the film, and so they kept it that way. I mean really, this film has one of the most incredible finales ever, so at least that part was done very well.**

 **In the American/English adaptation, the narrator was expanded to be a whole congregation of performers, and not just Clopin. I loved that idea,**  
 **up until the finale, where they kept on narrating the action as it was happening, and by then it felt really annoying. I see what's going on, you don't have to narrate it all out for me! I kept like only 2 lines from their narration, that I felt added to the action and the scenes.**

 **The set for the original production,** _ **Der Glöckner von Notre Dame**_ **, utilized four large hydraulically controlled boxes that can be placed at every conceivable height and level, and used highly detailed photographic and motion images. That was such incredible effect and I only used it for the finale, because I felt that was the only place I could use it.**

 **The stage adaptations also had reprises of the songs** _ **SOMEDAY**_ **,** _ **MADE OF STONE**_ **,** _ **SANCTUARY**_ **, and** _ **TOP OF THE WORLD**_ **so I included them here, because they worked out great. I also induced reprises of** _ **OUT THERE**_ **, _GOD HELP THE OUTCASTS_ , and **_**IN A PLACE OF MIRACLES**_ **, because I felt they were needed here.**

 **And yes, the Archdeacon's lyric; "** _ **And remember the truth that once was was a spoken; To love another person is to see the face of God."**_ **is borrowed from** _ **Les Misérables**_ **because I like it, and it's a true statement!**

 **Both stage adaptations had other songs that didn't get included in my version. I liked all the songs from the stage version, but I just used the ones I liked the best. These were the songs I felt added to the story.**

 **I also want address something that a lot of people don't seem to get about this film. A constant complaint is that Quasimodo doesn't quite get the happy ending he wanted because he didn't get the girl in the end. Anyone who says that clearly misunderstood what Quasimodo's story arc was about. His story arc is not "True Love" it's "OUT THERE". What he wants in life is to be able to be part of the outside world 'like ordinary men who freely walk about there". He wants to basically be loved as a man, not hated as a monster because of his appearance, and be able to walk freely among them as a child of God like the rest of us. Over the course of this story, though prayer, humility, and struggle, he wins freedom, and gains true friends who love him as a man, not as a monster. "OUT THERE" is just as compelling a story arc as "True Love", and it's a shame those kind of people don't get that.**

 **To add a final note about what I love about this film so much; I absolutely love how the story and the characters rely on Prayer and Miracles to change their lives, rather than wishes and magic all the time. I love that this film is a testimony on how Prayer and the Love of God changes lives and I love that is Disney who endorses it!**

 **Thanks for reading!**

 _ **So here is a riddle to guess if you can**_

 _ **Sing The Bells of Notre Dame**_

 _ **What makes a monster and what makes a man?**_

 _ **Whatever their pitch, you can feel them bewitch you, the rich and the ritual knells of**_

 _ **THE BELLS OF NOTRE DAME!**_


End file.
